jul1990

COMMUNICATION ARTS VOLUME 32, NUMBER 3, ILLUSTRATION ANNUAL 1990 Editor and designer Patrick Coyne Executive editor Jean A. Coyne Associate designer Stephanie Steyer Production manager Scott Perry

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104 FOR SALE

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EDITORIAL

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INSTITUTIONAL

UNPUBLISHED

Production Ron Niewald Scott Teaford Advertising and circulation director Michael Krigel Retail sales Sandra Foss-Alvarez

COLUMNS

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EDITOR'S COLUMN

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FREE-LANCE

Subscription manager Vickie Perry

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DESIGN TECHNOLOGY

Subscription Nina Bland Ronnie Brown

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LEGAL AFFAIRS

Administrative assistants Deborah Donovan Judy McBride

Barbara Gordon Wendy Richmond

Tad Crawford

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OPINION/COMMENTARY

Traffic Vernon Carter

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BooK REVIEWS

Consulting editor Richard Coyne

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MATERIALS, AvAILABLE LITERATURE

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CLUBS, CONFERENCES, SEMINARS

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INDEX TO ILLUSTRATORS

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INDEX TO ART DIRECTORS, DESIGN FIRMS, A GENCIES AND CLIENTS

Contributors Maxwell Arnold Tad Crawford Byron Ferris Mark Fulton Barbara Gordon Mike Hicks Jim Johnston Marty Neumeier Robert A. Parker Rhodes Patterson Wendy Richmond Mill Roseman Dugald Stermer

Jon Weiman

Communication Arts Magazine (ISSN 0010-3519) is published eight times a year, January/February, March/April, May/June, July, August, September/October, November, December,

by Coyne & Blanchard , Inc., 410 Sherman Avenue, Palo Alto, Californ ia 94306.

Copyright 1990 by Coyne & Blanchard , Inc.

Communication Arts 410 Sherman Avenue P.O. Box 10300 Palo Alto, California 94303 Phone (415) 326 6040

Second class postage paid at Palo Alto, California and additional offices.

No responsibility will be assumed for unsolicited editorial contributions. Manuscripts or other material to be returned should be accompanied by a self-addressed stamped envelope adequate to return material.

Send change of address notification at least 45 days prior to effective date, include both old and new addresses.

Subscription rates : U.S.: one year-$47; two years-$90 Canada : one year- $52 (U.S.); two years-$95 (U.S.) Foreign: one year-$85 (U.S.); two years-$165 (U.S.).

Single issues: $7 except Illustration Annual (July) $14, Photography Annual (August) $14, Design Annual (November) $21 and Advert ising Annual (December) $21 .

Postmaster: Send address changes to Communication Arts, P.O. Box 10300, 410 Sherman Ave., Palo Alto, CA 94303.

1990

ILLUSTRATION ANNUAL

The pieces reproduced in this Annual are under prior copyright by the creators or by contractual arrangements with their clients.

They are published here under one-time publishing rights permission as stipulated in the call for entries . Nothing shown in the Annual may be reproduced in any form without obtaining the permission of the creators and any other person or company who may have copyright ownership .

ADVERTISING

Cynthia Torp , illustrator/designer Ray Kirschensteiner , art director Cynthia Torp Studio, design firm Telarc International Corp ., client "Dancing in the Streets" compact disc cover . 18 x 28, acrylic on illustration board .

2 Etienne Delessert, illustrator Pedro Tabernero, art director Delessert-Marshall, design firm Expo '92 Sevilla, client

Poster for Expo '92 in Seville , Spain .

101;2 x 15, watercolor .

3 Steve Pilcher, illustrator Larry Gordon, art director/designer Saatchi & Saatchi Compton Hayhurst ltd. , ad agency The Canadian Sugar Institute, client Ad headline : Safety Tested .

20 x 121;2, acrylic .

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Bruce Wolfe, illustrator/art director Tahoe Music Festival, client Seventh Annual Lake Tahoe Summer Music Festival poster. 36 x 24, oil.

2 Milton Glaser, illustrator/art director/ designer Milton Glaser, Inc ., design firm LU International, client Poster for LU International art collection. Ink wash and Cello-Tak .

3 Bill Vuksanovich , illustrator Paul Huber, art director/designer Altman & Manley, ad agency Weitek , client Ad for Abacus computer chip that increases normal computer speed two to three times. Headline: Tuesdays, The Shipment of Time Arrives Early.

123;8 x 131/4, pencil.

4 Bob Conge , illustrator Ed McCabe , art director/designer Wells , Rich, Greene , Inc. , ad agency IBM, client 4

Trade magazine ad. Headline : Hospital Administrators Perform Breakthrough Operation , IBM Solutions for Hospitals .

145;8 x 15, monoprint and color pencil.

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ADVERTISING 1 (series) Mark A. Fredrickson, illustrator Andrea Janetos-Hyett, art director/designer Foote, Cone & Belding , ad agency Levi Strauss , client Point of purchase posters for Youthwear "Wild Creatures " campaign. 19 x 26, acrylic.

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Etienne Delessert , illustrator Pedro Tabernero , art director Rita Marshall , designer Delessert-Marshall , design firm Madrid Public Library , client Poster headline : Biblioteca Quinto Centenario. 10 x 15, watercolor.

2 Milton Glaser , illustrator/art director/ designer Milton Glaser , Inc. , design firm Tomato Music Company , Ltd. , client

Poster for Joao Carlos Martins album, "Bach in a Fugue Suit." Ink wash and colored pencil.

3 John Z ielinski, illustrator Allen Weinberg . art director CBS Records , client

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Compact disc cover for music by Frankie Lane. 10 x 20 , colored pencil and acrylic .

4 James McMullan , illustrator/designer Jim Russek , art director Russek Advertising , ad agency James McMullan , Inc ., design firm Lincoln Center Theatre , client Poster . 10 x 18, watercolor .

5 Isadore Seltzer, illustrator Don Smolen , art director/designer Sovereign Pictures , design firm/client Poster for My Left Foot. 24 x 28 , acrylic .

6 Rafal Olbinski , illustrator/designer Jim Russek, art director Russek Advertising, ad agency Lincoln Center Theatre , client Poster for King Ubu. 16 x 20 , acrylic .

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ADVERTISING 1 (series) Lisa French , illustrator Chris Chaffin, art director Hal Riney & Partners , Inc. , ad agency See 's Candies , client Ad campaign , headlines : See 's to the Rescue . Easter Headquarters Since 1921.

May We Suggest Our Extra Fancy Nuts?

Various sizes , acrylic .

2 Paul Davis, illustrator/art director Paul Davis Studio, design firm New York Shakespeare Festival , client Film festival poster . Headline: Joseph Papp Presents Ingrid Bergman in Sweden .

121;2 x 181/4, acrylic on board.

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Cyd Moore , illustrator Cyd Moore/Karen Schmoll , art directors/designers Arts Festival of Birmingham , client Poster for 1990 festival . Headline : Australia Down Under Up Close .

18 x 36, gouache .

2 Brad Holland , illustrator Guerin Rife , art director/designer Rife Robertson Inc., ad agency Newtrend, client Magazine ad . Headline : Anticipation . 27 x 20 , acrylic .

3 Mark Ryden , illustrator/designer Tommy Steele , art director Cap itol Records , cl ient Fetchin Bones album cover "Monsters ." 19 x 31 , acrylic .

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ADVERTISING

Bruce Sharp , illustrator Jim Bailey , art director David Verwolf , designer Verwolf & Company , design firm Seattle Opera , client Promotional poster for Wagner 's Tannhauser. 15 x 33 , oil .

2 Scott McKowen , illustrator/art director/ designer The Grand Theatre , client Theater poster . 13 x 22 , scratchboard and printed color.

3 Milton Glaser , illustrator/designer Bill Freeland/Milton Glaser , art d irectors Milton Glaser , Inc ., design firm LaGuardia Community College , client Student recruitment poster. 11 x 17 , ind ia ink and wash .

4 Gary Kelley , illustrator David Bartels , art director Brian Barclay , designer Bartels & Company , ad agency Mississippi Delta Blues Festival , client Music festival poster. 14 x 26 , pastel.

5 Paul Davis , illustrator/art director Paul Davis Studio , design firm New York Shakespeare Festival , client Theater poster . 12114 x 181;2, acrylic on board .

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Henrik Drescher, illustrator Stacy Drummond , art director/designer CBS Records , Portrait Records, client Dave Pike album cover "Pike 's Peak."

13 x 13, mixed .

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Greg Spalenka, illustrator Mark Coleman, art director Sally Hartman , designer Coleman Souter, design firm San Francisco Opera, client Opera poster. 24 x 36 , graphite , oil, acrylic on board .

3 Jerzy Kolacz , illustrator Charles Bongers, art director/designer Ogilvy & Mather, ad agency Contac, client Transit poster. ~ead line : Sinus Pain , Minus Pain . 20 x 26 , mixed .

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Bob Ziering , illustrator Yiuch i lkarii, art director/designer Hakuhodo Inc. , ad agency Tokyo City Keiba, client Poster. 39 x 27 , colored pencil and pastel.

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James McMullan , illustrator/designer Debbie Freundlich , art director James McMullan , Inc ., design firm Bridgehampton Library Committee , client Poster for the Hampton Library auction .

13 x 1111.2, watercolor.

3 J.W. Stewart, illustrator Robert Lebeuf/J .W. Stewart, art directors Robert Lebeuf, designer PolyGram Canada , Inc ., cl ient

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Men Without Hats album cover "The Adventures of Women and Men without Hate in the 21st Century."

151;2 x 1511.2, mixed .

4 Paul Davis , illustrator Fran Michaelman , art director Paul Davis Studio , design firm Mobil Oil Corporation , client Mystery theater poster to promote "Campion" television series . Acrylic on board.

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ADVERTISING

Anita Kunz, illustrator Joe DiClemente , art director Annalisa Di Felice , designer Harbourfront Corporation , ad agency Authors Festival, client Promotional poster. Authors read from their work at "International Festival of Authors. " 14 x 14, watercolor and gouache .

2 Mark Ryden , illustrator/designer Nancy Donald/David Coleman , art directors CBS Records , client Jeff Beck album cover "Guitar Shop. " 36 x 18, acrylic .

3 Lawrence W. Duke , illustrator Rick Hess , art director Rick Hess/Lawrence W. Duke, designers The Leonhardt Group , design firm The Washington State Department of Ecology , client "Wetlands " poster. 15 x 22, scratchboard •· and watercolor.

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ADVERTISING

Rocco Baviera, illustrator Damian Fulton , art director Ogilvy & Mather, ad agency Ostan .Prentice .Ostan, Inc. , design firm Las Vegas Hilton , client Ad headline : A Lesson in History .

251;2 x 3211.2, alkyd on canvas .

2 Gary Kelley , illustrator Larry Hanes , art director/designer Larry Hanes Design , design firm Playhouse in the Park, client Treasure Island poster. 14 x 23, pastel.

3 Daniel Craig , illustrator George Halvorson , art director Campbeii-Mithun-Esty, ad agency United Way , client Annual fair poster. "A Fair of the Heart. " 24 x 26, acrylic on rag board .

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ADVERTISING 1 (series) James Marsh , illustrator Jamie Ambler , art director R.S.C.G. Italy, ad agency Bull Computers , client Outdoor billboards .

Headlines : The fruits of information. The computer is the stone (hardware).

Bull g ives you also the pulp (software). 3H-2 x 15314, acrylic on canvas .

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BOOKS 1 (series) Jennie Oppenhe imer, illustrator Rita Aero/Esther Mitgang , art directors The Crown Publ ishing Group, client Illustrations accompany recipes for Little Bean cookbook .

4 x 4, acrylic .

2 Michael J. Deas , illustrator Ellen Friedman , art d irector William Morrow & Co. , Inc ., client Cover for Babyface, book about a young girl com in g of age .

16 x 22 , oil.

3 Wilson Mclean , illustrator Frank Metz, art d irector Mary Bess Engel, designer Simon & Schuster, client Jacket for Beyond the Stars. A frontier adventure story set on the plains during the Ind ian wars , with emphasis on the life of the Indians . 34 x 22 , oil .

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BOOKS 1 (series) Stella East, illustrator/designer Trine Kolderup Flaten , art director Eide Publishers , client Illustrations for The White Stone, a fable-like story about a child 's first experience with pollution .

Various sizes , oil on canvas.

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BOOKS

John Craig, illustrator Wendy Bass, art director Macmillan Publishing Co., client Cover for Prisoners Dilemma , a story about a man going mad with Mickey Mouse. 9 x 12, collage and color overlays .

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Mel Odom, illustrator Steven Brower, art director/designer Carol Publishing Group , client Cover for And Again?, a novel about Robert Younger who lives to age 65, and then starts living his life backward, growing younger as time goes on .

31J8 x 41;2, pencil and collage.

3 Eric Dinyer, illustrator Nancy Etheredge, art director E.P. Dutton, client Cover for Diary of the War of the Pig. Novel about an old man caught in a wave of persecutions and exterminations against all old·people , metaphorically standing for the murkier currents of Latin American society today . 5 x 8, oil on canvas.

4 Richard Mantel , illustrator/designer Lee Wade, art director Richard Mantel Studio , design firm Henry Holt & Co ., client

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Jacket for Black Girl, White Girl, a murder mystery set in the Caribbean Islands . 6 x 9, acrylic .

5 Scott W. Hunt, illustrator Martha Phillips, art director The Franklin Library, client

Frontispiece for Laura , a murder mystery set in the '40s. The main character is a beautiful, young executive . 151;2 x 93/4, charcoal and black pastel.

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Braldt Braids , illustrator Betsy Wollhe im, art director Daw Books , Inc ., client Cover for Catfantastic , a collection of cat stories . 10 x 16, oil on Masonite.

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Greg Harlin , illustrator/designer Melissa Jacoby, art director Stansbury Ronsaville Wood Inc ., design firm Viking Penguin, client Cover for A Stone of the Heart, a mystery set in Dubl in, Ireland .

63/4 x 11 1!4, mixed media.

3 Steve Johnson , illustrator Denise Cron in, art director Alfred A. Knopf , Inc ., client Illustration from No Star Nights, a children 's book about growing up in a '50s steel mill town . 233/4 x 101;2, oi l on paper.

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BOOKS 1 (series) Scott Gustafson , illustrator/designer Thomas Ourwood , art director Calico Books, client Illustrations from Alphabet Soup, an ABC book. The Otter is having a party. He invites 26 of his friends , asking that they bring either an ingredient to add to the soup pot or just food that they like . The guest list begins with Armadillo bringing Asparagus, Bear Baking Bread and so on until they finally all enjoy the soup together. Shown : Reptile 's Rutabagas, Elephant's Eggplants, Weasel 's Wieners , Squirrel's Salad and Pot-Luck Party. 10 x 13, 26 x 10, acrylic .

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EDITORIAL 1 (series) Rene Milot, illustrator Alan P. Landholt , art director John Howze , designer Hawthorne/Wolfe , design firm Southwestern Bell , cl ient Cover and illustrations for Enterprise magazine article , "American Education ; Stuck in the Industrial Age ." Various sizes , oil on canvas .

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Mark Summers , illustrator Chris Curry, art director/designer The New Yorker , client John Ford portrait for classic film series revival. 6 x 8, scratchboard.

3 Mike Benny , illustrator Dave Kendr ick , art director/designer Northeast, client Article "Karen , Am I Dying? " about a doctor 's best friend who becomes her patient and later dies . 14 x 10, oil .

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EDITORIAL 1 (series) Guy Billout, illustrator Judy Garlan , art director The Atlantic Monthly, client Illustrations depicting the following ideas: Antipodes , Probability, Water Jump , Layover. 67Al x 9, watercolor and airbrush .

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EDITORIAL 1 (series) Barbara Banthien , illustrator Judy Garlan, art director/designer The Atlantic Monthly, client Cover and illustrations for article, "The Politics of Dogs." Greed and the American Kennel Club policies are endangering the health and quality of American dogs. Various sizes, watercolor and colored pencil.

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Patrick Sedlar, illustrator Diane McDonald , art director Michigan Magazine , The Detroit News, client Article "A Trip to St. Elsewhere." A woman is diagnosed with breast cancer . The diagnosis later turns out to be false. 63/4 x 9114, watercolor and colored pencil.

2 C.F. Payne , illustrator Fred Woodward, art director Rolling Stone, client Illustration for magazine's department: The History of Rock and Roll. "Bill Haley Shakes, Rattles and Rolls Over." 12112 x 14, oil , acrylic , watercolor, colored pencils .

3 Bruce Lee Brickman, illustrator Alan Rowe, art director/designer PHP Intersect, client Article "Aging Grace" about a hospital for aging people in Japan . 28314 x 20, acrylic .

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Bill Mayer, illustrator David Lowey , art d irector Varbusiness , cl ient Article "Whipping Your Software System into Shape ." 14 x 18, airbrush , gouache , dyes .

2 Gottfried Helnwein , illustrator Dwayne Fl inchum, art director Omni , client Illustration for fiction "Unidentified Objects ." A young man comes in contact with a strange man period ically , and imag ines him to be a visitor from outer space .

3 (series) Michael Paraskevas , illustrator Rip Georges/David Armario , art d irectors Esquire , client Illustrations for an excerpt from King of the Whispers , a novel-cum-biodrama on Walter Winchell and The Stork Club in 1943. Various sizes , acrylic .

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Everett Peck, illustrator John Korpics , art director/designer Regardie 's, client Andy Warhol portrait for an article "Warhol in Washington ."

12 x 15, mixed .

2 Sandra Hendler, illustrator/designer Jim Chada , art director I, Brute Enterprises , client Article "Don 't Weight" about weight gain from inactivity for Muscle and Fitness magazine. 25 x 21 1/4, oil.

3 C.F. Payne , illustrator Peter Herbert, art director Sports Illustrated , client Satchel Paige portrait for an article "Best Little Ball Park in Texas. " A true story about a man , in a small West Texas town in the 1940s, who built a very ornate ballpark for his favor ite sem i-pro team . He invited famous ball players to play in exhibition games . Oils, acrylic , watercolor, colored pencils .

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EDITORIAL 1 (series) Dugald Stermer, illustrator/designer Kimiko Horiike , art director Gulliver, client Illustrations for travel magazine section "Noah 's Ark ." 11 x 14, pencil and watercolor on Arches paper.

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Brian Cronin, illustrator Fred Woodward, art director/designer Rolling Stone, client Illustration for an article "Peace, Part Two : Living Without Enemies ." How Gorbachev is revolutionizing his own society and transforming the U.S. society as well.

2 Alan Reingold, illustrator Richard Bleiweiss, art director Frank DeVino, designer Penthouse , client "Posse Power" article about Jamaican drug lords . 24 x 17, oil and colored pencil.

3 Thomas Woodruff , illustrator Fred Woodward , art director Rolling Stone, client Section called : Rock & Roll Still Life , "ltsy-bitsy Teeny-weeny Yellow Polka-Dot Bikini ."

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EDITORIAL 1 (series) Brad Holland , il lustrator Judy Garlan , art director/designer The Atlantic Monthly , client Illustrations for an article "Can We Be Good Without God? " Various sizes , acrylic on Masonite .

2 Mel Odom , illustrator Tom Staebler, art director Kerig Pope , designer Playboy , client

Fiction "A Journey. " A woman and her two children are observed by a third party on an airplane . 18 x 20 , penc il and gouache.

3 Lane Smith , illustrator Jane Palecek, art director/designer In Health Magazine , client Illustration for "How I Blew My Summer Vacation ." Article about volunteers who spend time at a research center for the common cold in the English countrys ide.

11 114 x 101!4, acrylic .

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Rafal Olbinski , illustrator Alma Phipps, art director/designer Chief Executive , client Article about the advantages of taking risks in business, "Managing Risk Management. " 20 x 20, acrylic on Masonite .

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Marshall Arisman , illustrator Gail Segerstrom , art director Wildlife Conservation , client Illustration for "Somebody's Killing Our Bears." Article about killing bears to supply the huge Asian folk medicine market.

23 x 29 , oil on ragboard.

3 Di-Macc io, illustrator Dwayne Flinchum, art director Omni , client Fiction "Baby Strange ." A high-tech thriller about a "fixer" who is asked by a friend to wipe out his indebtedness by jamming a computer system . The fixer meets a strange woman who saves his life both physically and psychologically.

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Brad Holland , illustrator Judy Kramer/Jane Kaplan , art directors/ designers Longevity, client Open ing ill ustration for an article on the poss ibility of humans learning to regrow body parts , "Nature 's Greatest Trick ." 20 x 27 , acryl ic on Masonite .

2 Pau l Schmid , illustrator/designer Fred Birchman , art director The Seattle Times , client Artic le on immigrant experiences in the United States , "American Literature Expands its Horizons ." 811.2 x 91/4, pastel.

3 Raile , illustrator Dwayne Fl inchum , art director Omn i, client Fiction "Shoot the Moon ." The media has finally done something right. Sometime in the future , they place themselves on the moon and manage , by stay ing far away from things below, to keep peace on earth by med iating petty squabbles of various nations .

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Phil Huling, illustrator John Korpics , art director/designer Regardie's, client Ivan Boesky portrait for an article, "The Greed Hall of Fame ." 8112 x 11, oil , graphite and ink on illustration board .

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Ralph Giguere , illustrator Diane Lamphron, art director Redbook , client Illustration for a short story "Another Bad Dream ." A father becomes closer to his son as a result of the ch ild 's repeated nightmares . 67Al x 67Al, pencil.

3 Malcolm T. Liepke , illustrator Sara Pennington, art d irector/designer Piccadilly, client Magazine article "For A Limited Time."

How soon kids grow up and are on their own. 14 x 20, oil.

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C.F. Payne , illustrator B.W. Honeycutt, art director Spy, client Illustration for an article "The Boys Who Would Be Buckley." Young conservatives are aspiring to be in William F. Buckley 's shoes. 13 x 17, oils , acrylic , watercolor, ink and colored pencils .

2 (series) James Stagg , illustrator Mike Christensen , art director Novell , design firm LAN Times , client Illustrations for an article "Standards ." 24 x 18, 36 x 24, oil on canvas .

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EDITORIAL

Carter Goodrich , ill ustrator Len Willis , art director Playboy , cl ient Il lustration for a humorous artic le listing reasons why the author does not believe he ever grew up , "How to tell if you 're a grownup ." 14 x 16, colored penc il and watercolor .

2 Jul ian Allen , illustrator Mark Danzig , art director Richard Baker , des igner The Washington Post Magazine , client Cover portrait of Manuel Noriega.

9 x 12, oil.

3 Michael Parkes , illustrator Dwayne Fl inchum , art director Rani Levy , des igner Omni: client Il lustrat ion for "Preschool " an .article about a new d iscipline : prenatal psychology . Psychologists study the emotional and sensory life of the fetus and attempt to soothe , stimu late and even commun icate w ith the unborn.

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4 Joel Peter Johnson , illustrator Timothy Brown , art director Tennessee Il lustrated , cl ient Il lustrati on for an article "Burn ing Love " about Elvis as a deity. 22 x 14112, oil and acrylic on board .

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Marvin Mattelson , illustrator Maureen Gillespie , art director NYNEX, client Cover portrait of Ch ief Executive Officer , D.C. Staley, for Impact magazine . 9 x 12, acrylic on ragboard .

2 (series) Peter Kuper , illustrator Diana LaGuardia , art director Audrey Razgaitis , designer Conde Nast Traveler , cl ient Series for magazine section , "Traveler's Masks ."

From top : Just-New-in-Town-Take-My-Money Mask; Someth ing-You-Ate Mask ; Lost/Stolen Money , Passport or Ticket Mask. 7 x 16, wood , paint and paste l.

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Phil ip Burke , illustrator Fred Woodward, art director Rolling Stone , client Portrait of Spike Lee for contents page .

Acrylic on canvas .

2 Ned M. Seidler , illustrator Howard E. Paine , art director National Geograph ic , client Illustration for "Life in a Nutshell " article .

A field guide on what to expect when you crack open an acorn . 17 x 12, oil.

3 Bruce Sharp , illustrator Pat Prathier, art director Outside , client Robert Penn Warren portrait for an article about the late poet laureate and his use of bird imagery in his poetry "Half-Blinded Poets and Birds ." 16 x 15, oil.

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EDITORIAL

Marshall Arisman, illustrator J.D. Stout, art director Texas Monthly, client Illustration for an article about a black man who dies of unknown reasons in a small Texas town jail "A Case of Black and White ." 23 x 29, oil on canvas .

2

Paul Schmid , illustrator/designer The Seattle Times , client Humorous article giving advice on cooking for recently divorced men "Starting from Scratch ."

17 x 11, pastel.

3 John Zielinski , il lustrator Bruce Hansen , art director Playboy , client Illustration for an article "Fear of Taxis ."

5314 x 71;2, colored penc il and acrylic.

2

70

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3

COMMU

!CATION

ARTS

71

2

72

ILLUSTRATION

ANNUAL

1990

3

EDITORIAL

David Catrow , illustrator Donna Miller, art director National Wildlife Federation , client Stand alone cartoon "Critter Crack-ups " for Ranger Rick magazine .81J2 x 4 , watercolor and pen & ink.

2 Bryan Leister , illustrator Roy Comiskey, art director/designer American Society for Industrial Security , client

Article about animal activists for ASIS Security Management "Violent Avengers ." 16 x 16, oil.

3 Mark Summers, illustrator Steve Heller, art director/designer The New York Times Book Review , client Portrait of Ezra Pound . 41;2 x 53/4, scratch board .

4 Lane Smith, illustrator Fred Woodward , art director Gail Anderson/Debra Bishop , designers Rolling Stone , client Article about the HBO Comedy Channel "The 8000 Hour Joke. "

4

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73

74

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A N N U A L

1 9 9 0

EDITORIAL 1 (series) An ita Kunz , illustrator Fred Woodward , art director/designer Rolling Stone , client Illustrations for magazine department: The History of Rock & Roll. "Talkin' About an Evolution. Chubby Checker Plays Twister .

Jimi Hendrix : Foxy Baby. Stung ." 12 x 14, watercolor and gouache .

COMMU

ICATIO

ARTS

75

EDITORIAL 1 (series) Brad Holland , illustrator Jane Palecek, art director/designer Hippocrates , client Illustrations for article "The Gentle Death. " 20 x 27 , acrylic.

76

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A

UAL

1990

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77

78

I L L U S T R A T I 0

A

UAL

1990

2

EDITORIAL

Jack Unruh , illustrator Fred Woodward , art director Rolling Stone , client Portrait for an article "Muddy Waters : Mr. Mojo Still Risin "' 11 x 163/4, ink and watercolor.

2

Brad Holland , illustrator Fred Woodward , art director Jolene Cuyler, designer Rolling Stone , client Portrait of Mike Tyson for article "Lord of the Ring ."

3 John Gurche , illustrator Allen T. Carroll, art director National Geographic , client Article "Extinctions: A New View" reports findings on what caused Earth 's great dyings .

Since life began on this planet, at least five worldwide catastrophes have erased mill ions of animal species and a sixth is under way . 15 x 11 , acrylic .

3

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79

2

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A N N U A L

l 9 9 0

3

EDITORIAL

David Catrow, illustrator John Brown, art director Springfield Newspapers, client Illustration for an article on Alar and apples "Eve Might Have Thought Twice about Today 's Apple ." 7 x 8, watercolor and pen & ink .

2

Istvan Sandorfi , illustrator Dwayne Flinchum, art director Omni , client Fiction about a woman who has sold her memory to a dream bank, finds she doesn't know who she is anymore , and , panicking , tries to recreate her life and personality "Becoming Cindy."

3 (series) Gary Baseman , illustrator David Armaria , art director West Magazine , client Illustrations for cover article on dog disobedience "Dog Determination: When Rover is a Rotter. " 10 x 11 , pastels .

C 0 M M U N I C A T I 0 N

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81

EDITORIAL 1 (series) Gervasio Gallardo , illustrator Dwayne Flinchum , art director Cathryn Bongiorno , designer Omn i, c li ent Fiction "Looking Down ." A bird creature kept captive and worshipped by primitive people .

From the "god 's" point of view , an odd perspective of humanity .

82

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A N N U A L

1 9 9 0

COMMUNICATIO

ARTS

83

INSTITUTIONAL 1 (series) Matt Zumbo , illustrator Mary Uttech, art director/designer American Society for Quality Control , client Brochure "The Tortoise and the Hare Revisited. " Various sizes, mixed media .

84

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85

86

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A N N U A L

1 9 9 0

INSTITUTIONAL 1 (series) Guy Billout, illustrator David Pearce , art director David Pearce/Julie Fellowes , designers Tatham Pearce , design firm Gard Assuranceforeningen , client Annual report for a re inssurance association . Various sizes , watercolor and airbrush 2 (series) Ingrid S. Kallick , illustrator Colleen Bannon Busheii/Virginia Worthington , art directors Ingrid Kall ick/Linda Jackson , designers National Center for Supercomputing Applications , University of Illinois at Urbana-Champaign , cl ient Greeting card using scientific visualizations as decorative elements. 31 1!2 x 5, computer generated .

2

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87

88

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I 9 9 0

2

INSTITUTIONAL

Gary Kelley , illustrator Rosemary Conroy , art director/designer Cipriani Kremer , Inc. , ad agency Cole-Haan Shoes, cl ient Women 's fall footwear catalog cover . 12 x 16, pastel .

2 (series) Mark Hess , illustrator/designer Dick Sheaff, art director Sheaff Design , design firm Un ited States Postal Service , cl ient Stamp series commemorating the 20th Un iversal Postal Congress , an international gathering of postal representatives , depicting historical methods of mail delivery . 5 x 5, acrylic on canvas.

C 0 M M U N I C A T I 0 N

A R T S

89

90

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NUAL

1990

2

INSTITUTIONAL

Curtis Parker, illustrator Ann Hubbard , art director Hubbard & Hubbard Design, design firm Research Corporation Technologies , client Company brochure finding the relationship of inventions to society . 14 x 16, watercolor and airbrush .

2

Gary Head , illustrator Chuck Pollard , art director Studio 100, design firm Charley's Restaurant, client Menu cover. 8 x 14, oil.

3 Robert Gantt Steele , illustrator Andrew Danish , art director Stanford University Alumni Association, client Poster for alumni wine label series . 15 x 91;2, watercolor .

3

COMMU

ICATIO

ARTS

91

INSTITUTIONAL

Stephen Daigle , illustrator Pierre Leonard , art director Helene Godin, designer Grapheme Communication-Des ign , design firm Groupe Axor Inc ., client Brochure illustration for an engineering firm showing the Great Wall of Ch ina. 10 x 151;2, acrylic and felt tip pen on paper.

2 (series) Brad Holland , illustrator Mark Fredrickson , art director Fred Martins , designer Digital Equipment Corporation , client Annual report . 27 x 20, acrylic on Masonite .

2

92

I L L U S T R A T I 0 N

A N N U A L

I 9 9 0

C 0 M M U N I C A T I 0 N

A R T S

93

94

I L L U S T R A T I 0

A

UAL

1990

INSTITUTIONAL 1 (series) Burt Silverman , illustrator Jan Krukowski/Rick Hesel , art directors Krukowski & Associates , Inc. , design firm UJA Federation, client Fund -raising brochure . 24 x 30, oil.

C 0 M M U

I C A T I 0 N

A R T S

95

INSTITUTIONAL 1 (series) Jack Unruh, illustrator Danny Kamerath , designer RBM&M , design firm Triton Energy Corporation, client Annual report. 1211.2 x 17 , ink and watercolor .

2 C.F. Payne , illustrator Cecilia Stevens , art director Barry Blan & Partners, ad agency Citicorp , client Private banking services brochure. Illustration interprets a successful relationship . 1111.2 x 14.

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I L L U S T R A T I 0 N

A N N U A L

l 9 9 0

, '·

.

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2

C 0 M M U N I C A T I 0 N

A R T S

97

INSTITUTIONAL 1 (series) David Butler, illustrator/art director Swope Parkway Health , client Characters for display at inner-city youth "trick or treat" village . 48 x 72 , acrylic on Gatorboard.

2

Guy Billout, illustrator James Sebastian/Margaret Wollenhaupt , art directors Margaret Wollenhaupt , designer DesignFrame Incorporated , design firm The Hillier Group , client Architecture brochure titled : The Building as an Adventure. 157Al x g7;a, watercolor and airbrush .

3 Malcolm T. Liepke, il lustrator Rick Mitchell , art director/designer David Arnold , creative director The Partnership Inc ., design firm BeiiSouth , client Alexander Graham Bell poster celebrating milestones in communications history. 28 x 20 , oil .

98

I L L U S T R A T I 0

A

UAL

1990

2

3

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A R T S

99

INSTITUTIONAL

Etienne Delessert, illustrator Louise Fili , art director Rita Marshall , designer Delessert-Marshall , design firm Pantheon , cl ient Fall book catalog cover . 6 x 9, watercolor .

2

Bryan Le ister , illustrator Chris Noel , art director/designer Chris Noel Design Inc ., design firm Smithsonian Institution Traveling Exhibit Service , client Traveling exhibit poster of Frank Lloyd Wright decorative objects . 37 x 25 , oil.

3 John H. Howard , illustrator Angela Turk , art director Livingstone & Co ., ad agency First Interstate Bank of·Washington, client Brochure on small business growth . 36 x 36, oil on canvas .

2

] 00

I L L U S T R A T I 0 N

A N N U A L

1 9 9 0

3

C 0 M M UN I CAT I 0 N

ARTS

]QJ

2

] 02

I L L U S T R A T I 0 N

A N N U A L

I 9 9 0

3

INSTITUTIONAL

J6zef Sumichrast, illustrator/designer Robert Valentine , art director Bloomingdales , ad agency/client Shopping bag for " 1990, The Year of the Environment. " 12 x 17, transparent dye .

2

Joyce Kitchell , illustrator Pat Chin , art director/designer Cline Dav is & Mann Inc ., ad agency Pfizer, client Brochure cover on dietary guidelines for high-blood pressure patients . 18 x 16, watercolor .

3 (series) Guy Billout, illustrator Jenn ifer Moria, art director Marianne Mitten , designer Moria Design , Inc ., design firm San Francisco International Airport , client Annual report. 7 x 93/4, watercolor and airbrush .

COMMUNICATIO

ARTS

103

FOR SALE

Dugald Stermer, illustrator/designer Perry Butler, art director Perry 's Restaurant , client Poster celebrating the 20th anniversary of the San Francisco restaurant. Pencil and watercolor on Arches paper.

I

Posters depicting plant and animal species of the endangered rainforests .

201;2 x 281;2, acrylic and Prisma pencils .

2

I L L U S T R A T I 0

AN

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2 (series) Dale C. Verzaal , illustrator Brenda Bodney/Maurya Siedler , designers Bodney & Siedler Design, design firm San Diego Zoo , client

104

1

UAL

1990

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J 06

I L L U S T R A T I 0 N

A N N U A L

I 9 9 0

2

FOR SALE

Heather Cooper , illustrator/art director Simon Art Limited , client Limited ed ition print titled : Phantasme.

18 x 28, oil on canvas .

SELF-PROMOTION 2

Anita Kunz , illustrator Scott Taylor/Paul Campbell , art directors Paul Campbell , designer Taylor Browning Design , design firm Norgraphics , client Brochure for a printer. The subject was a Las Vegas slot addict. 10 x 10, watercolor and gouache .

3 Gary Head , illustrator/client Promotional flyer. 18 x 12, oil.

3

COMMU

ICATIO

ARTS

107

2

J 08

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A N N U A L

1 9 9 0

3

SELF-PROMOTION

Karen Visser , illustrator/client Promotional mailer. 20 x 15, colored pencil , chalk and watercolor .

2

Nanette Biers, illustrator/client Promotional ad. 24 x 18, oil on canvas .

3 Daniel Schwartz, illustrator/ art director/client Promotional mailer . 14 x 18, oil.

4 Jerry Moriarty, illustrator Silas Rhodes, art director Colleen McCudden, designer School of Visual Arts Press , Ltd. , ad agency/design firm School of Visual Arts, client Poster. 14 x 21 , acrylic .

4

COMMUNICATIO

ARTS

109

110

ILLUSTRATION

A

NUAL

1990

SELF-PROMOTION

Dugald Stermer, illustrator David Alan Kilborn , art director David Alan Kilborn/Dugald Stermer ,designers Buck & Pu lleyn Inc ., ad agency Case-Hoyt Corporation, client Poster for competition about bird identification. 30 x 14, pencil and watercolor.

COMMU

!CATION

ARTS

111

SELF-PROMOTION 1 (series) Thomas Thrun , illustrator Marshall Arisman , art director School of Visual Arts , client Selection from a promotional poster containing 24 illustrations .

10114 x 14, oil.

112

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AN N U A L

1 9 9 0

COMMUNICATION

ARTS

113

SELF-PROMOTION 1 (series) Malcolm T. Liepke, illustrator/ art director/designer Eleanor Ettinger Inc. , client Advertising and promotion for upcoming show . Various sizes , oil .

2 Nathan Y. Jarvis, illustrator/art director/designer/client Nathan Y. Jarvis & Associates, lnc.,design firm New address notice.

18 x 11112, acrylic .

114

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1990

2

. ,.

•

••

•

t

Ill

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A R T S

115

SELF-PROMOTION

Richard Wehrman , illustrator Jeff Marinelli, art director/designer Illustrator's Forum, client Self-portrait poster for exhibition of illustrators .

7 1!4 x 91/4, gouache and colored pencil.

2 Teresa Fasolino, illustrator Silas Rhodes , art director Kurt Houser, designer School of Visual Arts Press , Ltd. , ad agency/design firm School of Visual Arts , client

Scholarsh ip poster. 26 x 20 , acrylic .

3 Mark Smolin , illustrator/art director/designer Designustration , client Promotional mailer. 18 x 26 , mixed media.

2

116

ILL U S T R AT I 0 N

A N N U A L

1 9 9 0

3

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I CAT I O

RTS

117

118

ILLUSTRATIO

A

UAL

1990

SELF-PROMOTION 1 (series) Martha Anne Booth, illustrator/ art director/client Postcards . Various sizes, oil pastel on paper.

COMMUNICATIO

ARTS

119

2

120

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A N

U A L

I 9 9 0

3

SELF-PROMOTION

James Stagg , illustrator/client Linda Herman Company, design firm Color Copy Printing , client Calendar. 48 x 36 , oil on canvas .

2 James lbusuki , illustrator/client Ad . 25 x 17 , acrylic .

UNPUBLISHED

3 Daniel Craig , illustrator Portrait of the artist's son for portfolio.

Oil on canvas . © Daniel Craig 1990

4

Kelly Maddox, illustrator Portfol io piece . 221;2 x 181;2, airbrush , acrylic and pastel. © Kelly Maddox 1990

4

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ARTS

121

122

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2

UNPUBLISHED

Ron Elstad , illustrator 18 x 24 , oil on canvas . © Ron Elstad 1990

2 (series) Jane Sterrett, illustrator 10 x 8, mixed media. © Jane Sterrett 1990

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123

124

ILL U S T R AT I 0 N

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UNPUBLISHED 1 (series) Paul Van Ginkel , il lustrator Various sizes , oil on illustration board . © Paul Van Ginkel 1990

2

Robert Hynes , illustrator Ursula Vosseler , art director/designer Illustration for National Geographic World magazine .

17 x 11 , acrylic . © Rob ert Hynes 1990

2

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125

126

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A N N U A L

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2

UNPUBLISHED 1 (series) Steve Pilcher, illustrator Illustrations for a children 's book.

Various sizes , acrylic . © Steve Pilcher 1990

2 G. Allen Garns, illustrator

19 x 25, pastel. ©G . Allen Garns 1990

3 Donna F. DeFiatto , illustrator

155!8 x 11 114 pencil. © Donna F. DeFiatto 1990

3

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127

UNPUBLISHED

Patrick Fiore , illustrator/art director Ringling School of Art and Design , client 16 x 20, acryl ic . © Patrick Fiore 1990

2 Craig Nelson , illustrator 30 x 20 , oil . ©C raig Nelson 1990

3 Tobin Sprout, illustrator 30 x 24, oil on canvas . © Tobin Sprout 1990

4 Dan Cosgrove , illustrator 14 x 11 3/4 , gouache and ink. © Dan Cosg rove 1990

2

128

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AN N U A L

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3

4

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129

UNPUBLISHED 1 (series) Maryjane Begin , illustrator Ellen Friedman, art director/designer Illustrations from picture book to be published by Morrow Junior Books, Little Mouse 's Painting. 81;2 x 8314, acrylic and watercolor. © Maryjane Begin 1990

130

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1990

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131

2

132

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AN N U A L

1 9 9 0

UNPUBLISHED

Stephen F. Hayes , illustrator Illustration for proposed article on rising medical costs in the Pac ific Northwest. 12 x 9, acrylic on Masonite . ©Stephen F. Hayes 1990

2 (series) Malcolm T. Liepke , illustrator Malcolm T. Liepke/Ate lier Ettinger Inc ., cli ents Series for gallery use. Various sizes , oil . © Malcolm T. Liepke 1990

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133

UNPUBLISHED

John Rush , illustrator Experiment to suggest the use of gold leaf. 19 1!2 x 33, gouache and acryl ic . © John Rush 1990

2 Gayle Asch , illustrator 153AJ x 141AJ, mixed media. © Gayle Asch 1990

3 Joseph Salina, illustrator Carmen Dunjko , art d irector Illustration for a fiction piece about a daughter-father relationship based on evil and hatred . 151;2 x 141!2, .Q.cryl ic and oil glaze . © Joseph Salina 1990

134

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2

3

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135

UNPUBLISHED

David L. Poole , illustrator Acrylic on canvas . © David L. Poole 1990

2 Gregory Manchess , illustrator 18 x 24 , oil. ©G regory Manchess 1990

3 Bryan Leister , illustrator 20 x 15, oil. © Bryan Le ister 1990

4 Louis M . Police , illustrator Portfolio piece for sale as gallery art. 36 x 28 , pastel. ©Louis M. Pol ice 1990

2

136

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1 9 9 0

3

4

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ARTS

137

UNPUBLISHED 1 (series) Michelle Barnes, illustrator Unpubl ished children 's story, Dog Days, Dog Nights, about what dogs do when the ch ild is asleep , and what they really do during the day when the owner is away. 20 x 16, oil pastel. © Michelle Barn es 1990

138

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ANEW SYSTEM OF TEXT AND COVER PAPERS

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A marketing whiz from Topeka had a product that was fantastika .

But he had to procure a brochure with allure on a budget that was pathetika.

So he called up his print rep, Monika, who was known to be quite pragmatika.

II

Don t worry

II

you ll come out ahead

1

11

she said,

1

if you print on the paper, Graphika. II

Next, he phoned the design house, Eureka, A shop famous for graphic technika.

11

I just want you to check

on a paper to spec, that goes by the name of Graphika.

11

Good designers are most understanding when their clients get very demanding.

Said the man from Eureka: II

Graphika Is uniqual All three grades are really outstanding.

Now, you may never get to Topeka.

Or work with the folks from Eureka.

But if print is your game, just remember the name for quality papers: Graphikal

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Parchment

Graphika Vellum 601b &701b Text 651b &BOib Cover

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The Graphika System is acid-free and all items of Vellum and Lineal, excluding Zinc White, meet the EPA guildlines for recycled paper.

JAMES RIVER CORPORATION PREMIUM PRINTING PAPERS GROUP 145 James Way, Southampton , PA 18966

© Copyright 1900, James River Corporation. Printed inthe USA

In the beginning, there was the Macintosh~ Then bitmap paint programs, object-oriented drawing programs, laser printers.

The world of computer art was born.

And it was good. Pretty good. As long as your ideas didn't exceed the limitations of your software.

Introducing Adobe PhotoshopTM software.

Now, for the first time, you can create anything you can imagine. Start by scanning photographs and textures, then add painterly effects or put together a montage. Go on to combine your photos with Adobe Photoshop-generated or imported art. Finally, retouch and refine your new images.

All in gorgeous 32-bit color.

Already, Adobe Photoshop software is changing the way artists work.

"Adobe Photoshop allows me to do everything creatively I've ever wanted to do;' Ray Honda, Primo Angeli Design. "I can see my ideas on the monitor as fast as I can think of them:' 'We've seen the future and it is Adobe Photoshop;'

Bob Clifford, Landor Associates. "It adds a dimension of realism we couldn't get any other way:' Bob Goodman, The WhaleSong Project: ''The learning curve is so gentle, it follows me as I explore:' What's more, when you're done creating, Adobe Photoshop software starts producing.

With a myriad of ways to output your finished product-slides, color proofs, even color separations.

At computer publications like Mac World, Mac User, Mac Week and big city newspapers like the San Francisco Examiner and the New York Times, Adobe Photoshop is the production tool of choice. We even hear Yale University is adding a graduate course based on the Adobe Photoshop program.

(Don't send in your application until you try our easy tutorial.) ''With Photoshop, we can scan, manipulate and separate a variety of images," Sanjay Sakhuja, Digital PrePress, a Macintosh service bureau for desktop publishing and electronic prepress. "Our customers no longer have to use highend, expensive equipment:' The question remains, how will you change the world with Adobe Photoshop? The answer appears to be, any way you want to.

For a free, full color brochure about Adobe Photoshop, check with your favorite software dealer or calll-800-344-8335.

Howtoch~e

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The Adobe logo and the PostScript logo are registered trademarks and Adobe Photos hop is a trademark of Adobe Systems Incorporated. Macintosh is a registered trademark of Apple Computer, Inc.© 1990 Adobe Systems Incorporated. All rights reserved.

APT Photoset Ltd. London England ~ 01-701-0477

Arrow Typographers Newark, New Jersey ~ 201-622-0111

Brooks Typography Lafayette, California ~ 415-284-2910

Centennial Graphics Lancaster, Pennsylvania ~ 717-397-8863

Central Graphics San Diego, California ~ 619-234-6633

Caractera Montreal, Quebec ~ 514-875-7650 Quebec, Quebec ~ 7-4434

Design & Type Detroit Translation Bureau San Francisco, California ~ 415-495-6280 Troy, Michigan ~ 313-649-0055

DG&F Typography Columbia, South Carolina ~ 803-799-9140

Headquarters, Inc. Phoenix, Arizona ~ 602-257-4646

House of Typography Memphis, Tennessee ~ 901-726-6961

Images 'N Type Ltd. Markham, Ontario ~ 416-477-7660

UnoTypographers Lithographers Fort Worth, Texas ~ 817-332-4070

Master Typographers ·· Chicago, lllinois ~ 312-661-1733

Porter Graphics Santa Ana, California ~ 714-558-1947

Quest Graphics Chicago, lllinois ~ 312-922-0707

RyderTypes Chicago, lllinois ~ 312-467-7117

Shore Typographers Chicago, lllinois ~ 312-944-6650

Southwestern Typographies Dallas, Texas ~ 214-748-0661

Spectrum Multilanguage Communications New York, New York ~ 212-391-3940

The Type Gallery Seattle, Washington ~ 2o6-285-6333

The Typesetting Room Costa Mesa, California ~ 714-549-3902

The Typesetting Shop Oakland, California ~ 415-654-5404 Walnut Creek, California ~ 415-256-6300

The Typesmiths Chicago, lllinois ~ 312-787-8200

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Typeworks of Dallas Dallas, Texas ~ 214-871-70o6

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Central Typesetting Characters Detroit, Michigan Typographic Services New York, New York ~ 313-961-7171 ~ 212-947-0900

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<CJ 1990 Typographer's International Assn .

EDITOR'S

COLUMN

PATRICK COYNE

H

ERE'S THE ILLUSTRATION ANNUAL for 1990. 5,493 entries were submitted and our jurors selected 173 to be in the Annual.

130 artists are represented.

The jurying took place on April 8th and 9th. The site was Hyatt Rickeys in Palo Alto, an attractive and comfortable setting for the jurors to live and work. April is a question mark month for weather, but the elements were relatively cooperative, no rain, but unseasonably cool.

Except for Dugald Stermer, the jurors were met at the San Francisco airport at various times during the afternoon of Saturday the 7th, and we had a relaxed get-acquainted dinner that evening. Eastern jurors had the option of retiring early, but all chose to join us.

The jurying began at nine on Sunday morning. We worked in two large conference halls, each equipped with a projection system and five rows of tables for screening tear sheets, proofs and large transparencies.

The patio outside the halls served for rest breaks and the catered buffet lunches..and this was where we met that morning for a brief explanation of the procedures we would be using and the objectives of the jury.

With a few modifications, the procedure is basically the same one used since the 1961 Annual.

We divided the jurors into two groups of three with each group screening half of each category. Jean Coyne acted as the sixth screening judge during the preliminary process.

Q)

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ANNUAL

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All but the smallest categories had been split so each team saw half of the entries in every category. Print entries were spread out on the tables by category. Many categories required several set-ups. Any juror could place a piece in the finals by handing it to a member of the CA crew, who would put the entry into the "in" container.

After all three jurors were satisfied that they didn ' t wish to put any other pieces into the finals, they would sit down and view a carousel of slides. The jurors screened these by marking the "in" or "out" column on prepared scoring sheets.

This procedure repeated itself during the day. Starting out, both slides and print were in the same category.

After a few set-ups, they did get out of sync. That was particularly true toward the end. Our last category was "unpublished," which filled a number of carousels but had minimal print.

After each carousel was screened, the scoring sheets were tabulated and final carousels were set up with new scoring sheets. Efforts were made to keep entries from the same illustrator from appearing in sequence.

Screening was completed by the end of the day on Sunday. 1,220 entries were put into the final voting.

The final voting began on Monday morning and all five jurors worked together. Print entries were again spread out on the tables by category. Two paper cups , with slots cut in the bottom, were placed upside down next to each (Continued on page 154)

His work has been shown at the Louvre and is in the permanent collection ofthe Museum ofModern Art.

~m "What's new?"

Well, a new decade just blew in and a whole new millennium is on deck.

What better way to celebrate than with all-new work from five of the most gifted illustrators of the 20th si£de?

To illustrate a point, we commissioned them to illustrate a point. The point being that in the pages of magazines and brochures and annual reports, the art of illustration is thriving.

They were free to respond in the medium of their choice. Watercolors. Oils.

Pens and inks. Small mediums. Large mediums. Medium mediums.

We think you'll agree they drew some stunning conclusions. And now we invite you to draw your own conclusions about the remarkable blue-white canvas they're printed on- Celesta~ the Number One grade fine paper from Westvaco.

Finally, capping off the fin de millennium festivities is a special "guess the illustrators" contest.

Study their styles. Peruse the fine print. Then, flip the page for the answers.

Winners earn a fabulous trip for one around the office, gloating included.

Her first mentor was a local Bar-B-Q nabob in her hometown of Little Rock, Arkansas.

Acrylic

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This naturalist is one ofthe Lone Star State's most illustrious stars.

Pe11 a11d i11k, waterrolor, mbber stamps i11ked with felt tip markers

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Oil with thick coats of vamish

T

Lori Lohstoeter "Fruit Hats" "Hats, excuse the pun, are top of mind this year- the wackier the better. Why not fruit hats? Also, full lips are in, they're cloning Cindy Crawford's birthmark, and the dalmatian is the hot dog. All of this lends itself beautifully to my colorful palette."

Brad Holland "Pool" "I'm like one of those birds that makes a nest out of grass and tinsel," says Holland. "I take whatever catches my attention and make something of it." Holland applies multiple layers of oil paint, scraping and repainting until his figures are shadowy, his colors iridescent.

Lynn Rowe Reed ''The Big City" Lynn Rowe Reed , whose circular swirls are fashioned with crayon-like oil sticks, wanted "what's new?" to work on an emotional level, so she drew from experience. "I've moved a lot and ·· I'm all too familiar with that frightening, isolated feeling of a new place."

Jack Unruh "Circus"

This insert is printed on Celesta 100 lb. Litho Gloss, an acid-free sheet. Color was separated at 175-line screen. The ink sequence was: touch-color match red, black, cyan, magenta, yellow, and spot dull varnish. "Fruit Hats" and "Circus" were scanned from the original illustrations; "Pool" and "OW/YM" were scanned from 11 11 x 14 11 transparencies of the illustrations; "Big City" was scanned from an 811 x 10 11 of the original. Photos of the illustrators are four-color, created from black and white photographs.

Predetermined color casts were separated from specified areas of the illustrati(i)ns on a Crosfield scanner.

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"There's so much ballyhoo at the circus- everything's always 'all new;" explains Unruh. This "Circus," a product of his "bor-

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Celesta Litho Gloss is also available in 80 and 70 lb. basis weights;

Michael Paraskevas "Older Women, Younger Men"

Celesta Litho Dull in 100, 80 and 70 lb. basis weights;

"I originally wanted to draw pigs," he says, "but my mother sug-

Celesta Cover Gloss in 100 and 80 lb. basis weights;

gested 'Older Women/Younger Men:" "OW/YM," which was hand-delivered by the artist, measures 54 "x 40 "; he likes big formats because his brushes are wide, his strokes broad.

Celesta Web Gloss and Web Dull in 100, 90, 80 and 70 lb. basis weights.

You know what it's like.

If you're in graphic arts, you know there's a lot of grunt-work.

Like rubbing-down type·. And tracing and filling letters to comp-up headlines.

Trying to get true colors from a junkyard of dried-out markers.

Inking and re-inking rules and borders because of clogged pens.

T-squaring elements to be sure they're aligned and square.

Counting characters.

Spinning proportion wheels.

Tracing off the Lucy.

Wouldn't it be nice to spend more time exercising your brain instead of

your wrist? Exploring concepts?

Refining layouts? Trying "What if" design options? Or experimenting with color combinations?

That's exactly what you can do using today's advanced layout, design, and illustration programs, the Macintosh IFMfamily of computers and a CalComp DrawingCard™display system.

CalComp large screen displays help you get the most from your Macintosh.

Fbr one thing, they never let you lose sight of the big picture. DrawingCard is the first 21" system to give you two full pages of color side-by-side at actual size. That's critical when you're

designing double-truck ads, brochure spreads or creating a large horizontal illustration.

DrawingCard's flat screen eliminates distortion and with its excellent resolution and contrast you can see the effect of small changes in the colors right on the screen. Or evaluate the visual effect of half-point variations in type size and leading. You can even see the precise amount of letter overlap when you set your headlines "tight and touching:' And with DrawingCard displays, what you see on the screen is what you get on your printer because screen resolution is true 72 dpi.

All screen images were scanned, imported, displayed and photographed on Ca!Comp DrawingCard displays. .

..

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Our 8-bit ChromaVision system with 256 colors is the perfect match for the great majority of desktop pub-

lishing, design and illustration projects where 4-color reproduction is needed.

And our 24-bit ChromaVision Plus system (shown above) with 16.7 million colors is the ultimate display where color accuracy is especially critical such as color retouching.

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graphics leader, supports the arts on Macintosh. There's also WIZ,TM a new mouse system that combines the features of a traditional mouse with the power of a graphics pad. Plus a complete line of high-performance printers.

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EDITOR'S CoLUMN

piece. Each juror voted by putting a colored tile into the bottom of the appropriate cup, white for "in," red for "out." Since each juror voted with a different colored tile, we were able to make sure that each entry was voted on by every judge.

By requiring each juror to vote "in" or "out" on every entry, we eliminated the abstain vote that occurs all too often in positive-only voting, for the entry that is good but maybe not as great as some of the others. A "no" vote is a definite statement that this entry should not be in the Annual. Of course, other jurors may have a different opinion. That's why we have juries.

This method guarantees that every entry is independently evaluated by all of the jurors. No one juror can influence the vote of another, or see what the other judges chose to vote for.

Rob inson

After all the jurors had finished voting, they moved to the second hall for a carousel of slides. As in the screening session, this was done by checking "in" or "out" on scoring sheets.

While the jurors were .Yoting on the slide entries, the entries in the first hall were turned over and, as the cups were lifted, the "in" and "out" scores were recorded on the label taped to the back of each entry. After this was done, the entries were put back into the container, the cups and tiles picked up and the room prepared for another voting session. The colored tiles were constantly resorted and put in the appropriate containers.

The voting was finished late on Monday afternoon.

Three or more votes put an entry into the Annual. These accepted entries were treated as equals in the design of the Annual. Decisions on size and placement were geared to reproduction evaluations and pacing; and always subject to the ever present necessity of controlling press channels and ink usage for web printing.

Garlan

I would like to express our appreciation to the jurors who gave their time and conscientious effort to making the selections for the 1990 Illustration Annual.

Judy Garlan has been art director at The Atlantic Monthly since 1981. During the previous nine years, two of which were spent designing for a small New York advertising agency, she art directed five other magazines, including Art News, Crawdaddy and Cue. She also served as a special design consultant for Time. Garlan 's illustrations have appeared in such publications as The New York Times and Psychology Today. She has also co-authored a children's cookbook and a humor book. Garlan grew up primarily in Portland, Oregon. She graduated from Sarah Lawrence College and later took design and illustration evening courses at the School of Visual Arts, in New (Continued on page 160) Magleby

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NEW ThXOPRINT®II DURABLE COATED PAPER

Graphic design has changed in the

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It takes four graphic designers to turn out this magazineabout ninety color pages a month. Since we started using Visionary, we 've more than doubled our output. The art staff is the same size as when we started Victoria three years ago. Back then, we couldn 't keep up with the writers.

With Visionary, writers and designers stay ahead of deadlines.

Another big plus- Visionary lets us take better care of our transparencies and artwork. We scan it, store it, and retrieve it on demand. Compare that with having it get mauled by bicycle messengers.

Our supplier (a 4-color separator), has been terrific with training and support for Visionary. In our business, you need suppliers who are genuinely interested in making things right. By the way, we 've eliminated the drawing tables in this art department.

Except for one. And it holds a workstation."

The Scitex Macintosh" computer-based Visionary TM design/layout system is the fastest, most creative route from concept to production for magazines, packaging, catalogs, 4-color production of any kind.

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It's so beautiful we're afraid some people will miss the point.

What kind of impression should a ball point make?

The new Parker Duofold Ball Point Pen pictured below unquestionably makes a rather beautiful one.

Indeed, no expense has been spared to make it so.

The superior luster and finish you see are not sprayed on, but built in by Parker craftsmen.

Each Parker Duofold Ball Point Pen barrel is hand-tooled from a solid block of cast acrylic, not churned out "en masse."

Some of the old ways are still the best.

All that glitters is not l8k gold plate, but 23k gold plate, and we use twice as much gold as lesser pens.

More than enough to prevent tarnishing our reputation.

More to the point, however, is that looks have never been everything at Parker.

Put to paper, the new Duofold Ball Point will glide across the page leaving an

even flow of ink. No skipping. No blabbing.

To guarantee that it will (and we do for a lifetime), we sculpt our ball points from tungsten carbide, rather than using the more commonplace and less wear-resistant steel ball.

And before we sign off on a Duofold Pen, we literally sign off with it. A legion of white-gloved inspectors examines and tests every one by hand.

It is the finest writing ball point in the world.

We invite you to examine the new Parker Duofold Ball Point Pen and the matching propelling pencil at your nearest Parker dealer.

Beauty, as they say, is in the eye of the beholder.

A statement never truer than when you are making one with the new Parker Duofold Ball Point Pen.

<f PARKER -=f~-

EDITOR'S CoLUMN

York, from Seymour Chwast, James McMullan and Milton Glaser.

McRay Magleby, a 1966 graduate of the University of Utah, is currently art director of the Brigham Young University graphics department, a position he has held since 1969. Magleby supervises a staff of ten designers and produces publications, books and posters for the university. He is also a professor of art at the University of Utah, where he teaches graphic design and illustration.

In 1985, he was selected to receive the University of Utah Distinguished Teaching Award, and in 1986, he was voted Designer of the Decade by the Council for Advancement and Support of Education.

Chris North earned her BFA in Visual Communication from the University of Kansas in 1981. She was an art director at Hickerson Powell Phelps & Associates, Inc., a Kansas City advertising agency. She then became senior art director for the marketing department of The Broadway Collection~ a manufacturer of architectural fixtures. From there, she joined River City Studio as senior art director. In 1989, she founded her own company, Chris North Advertising Design, Inc. As a visiting lecturer at the University of Kansas, North recently taught corporate identity and applied illustration courses. She is past president of the Kansas City Art Directors Club.

Bennett Robinson is chairman of Corporate Graphics, Inc., a firm he co-founded in 1976 after heading his own firm for 16 years. CGI, a subsidiary of WCRS Group pic, has offices in New York, Los Angeles and London.

A graduate of Syracuse University, Bennett has been an instructor at Pratt University and, as CGI creative director, he and his staff produce a variety of annual reports and other corporate communications.

Dugald Stermer is an illustrator, occasional designer, writer and contributing editor to Communication Arts.

An art and English graduate of the University of California at Los Angeles, Dugald makes his home in San Francisco with his wife, writer Jeanie Kortum, and daughter. He has authored two books, The Art of Revolution (McGraw-Hill, 1971), and Vanishing Creatures (Lancaster-Miller, 1980), and is currently working on his third, Vanishing Flora.

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North

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F R EE-LANCE

B ARB ARA GORDON

SoME OBSERVATIONS ON THE REP-TALENT ScENE OTHING IN LIFE REMAINS STATIC, and the rep-talent situation is no exception.

Currently, there are more artists, photographers and designers seeking representation, especially in the New York area, than I've seen in my entire career. While the number of free-lancers is increasing, the number of representatives seems to be remaining constant or declining.

N

This unlimited talent pool is only one of the reasons why many reps are taking on more and more talent. Many of my fellow reps, however, tell me their prime reason for "loading up" on talent is an experienced or perceived lack of loyalty on the part of the talent. These reps recounted story after story of how they took on a beginning talent and struggled through the hard times, only to be dismissed when the talent became prosperous. After a few such experiences, many reps decide never to be in that vulnerable position again . One way to minimize the effect is to load up on talent.

Some of the reps indulging in this practice told me they are actually following the good business methods of some of their clients who hire several MBAs. At the end of the year, they keep only the best ones and let the rest go. So the rep takes on many talents and, at the end of a given period, keeps only the profitable ones.

One rep described this as a good form of product diversification. Another told me that, for estate and retirement planning purposes, it is much easier to sell a firm which handles a large number of talents than a small repping firm. And more than one told me that, with a large enough firm, it was even possible to go public and sell stock in the company.

There are still those firms who resist the urge to get large and choose to have a select group of talents where the principals are involved in all aspects of the talents' careers and handle every negotiation personally. Reps doing business this way tell me they like the personal interaction with talents and clients and don't have the temperament to deal with fifty or more talents.

They also cite the heavy overhead (lots of associates and runners) needed to rep numerous talents . Some, who are handling the smaller groups, maintain that they can concentrate on the high end of the business and, with their lower overhead costs, probably have better bottom lines than the multi-talent firms. Many of these reps will only handle big producers .

The specialized reps, those who handle only fashion, cartoonists, etc., are also, with a few good exceptions, 166

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fading from the scene. Most reps tend to be generalists and handle talent with an appeal to a wide market. Again, the reason for this is simply protection against vulnerability to the business cycle. If you handle only fashion people, and the fashion industry goes into a slump, your business may go into a depression.

Even though reps are expanding on the types of talent they will sell, it is still difficult for designers and design firms to find reps who will sell their services. The clients for designers are different than the clients for art and photography. Generally it isn't time efficient for a rep to handle designers .

Most reps tell me they are spending more and more time on negotiations. These cover not only fees and working conditions but, in some cases, production aspects of the job as well, e.g. a client may have a fixed budget. In order to do the job within that budget, and still keep it profitable for the artist or photographer, the rep will have to come up with alternative methods or techniques to make the job workable. And when they aren ' t negotiating or selling, a lot of a rep's time is taken up with servicing their clients. In today's competitive market, all other factors being equal, good client service can sometimes be the competitive edge.

In the bad news department, a majority of reps are finding it impossible to set up personal appointments for the many free-lancers who request them. Their only option is to ask people to drop-off their portfolio.

The good news is, however, every rep I know is still looking for good people to represent. No matter how busy their schedules, they all look at drop-offs and mailers.

Though this may seem impersonal to the free-lancer, you can be assured that your work will be reviewed.

On a further positive note, there are still reps who will take on, and work with, a promising beginner. You just have to look harder and longer to find them.

Because the rep-talent situation is not a static one, I hear stories every day of artists or photographers who couldn't get the rep of his or her choice on their first attempt, only to be successful later because either the talent 's or the rep's circumstances had changed.

At the risk of sounding facetious, here's one last idea for all of those free-lancers unable to find acceptable representation for themselves. Since there appears to be a shortage of reps for all of the people seeking them , maybe a few of you should consider switching sides and become a rep instead of being repped. It's a thought.

DESIGN

TECHNOLOGY

WENDY RICHMOND

ETHICS ON THE DESKTOP FRIEND CALLED RECENTLY AND TOLD me a disquieting story. Two of his employees quit, started their own business and took one of his major clients. I commiserated with my friend about his bad luck.

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too much anyway. We consider ourselves clever when we uncover a scheme to protect a HyperCard stack. And you ' ve heard this rationalization for ripping off software companies: "Exposure helps promote their products."

Then he told me the details, and I realized that his story was more than a case of unethical employees. My friend was the subject of a new and insidious phenomenon.

Thanks to the tools of desktop publishing, it was seductively easy for his former employees to steal his client, and for his client to be a co-conspirator.

If we take that attitude, we're one step away from ripping

My friend had designed, through two years of refinements , a highly economical system for the layout and production of a seasonal education catalog.

Even more dangerous is the ability to copy a working method that has taken years to perfect, as happened with my friend. We recently received a letter at CA from David Brickley, a Northern California designer of computer graphics, who says , "In giving the original file to the client, the artist ... risks giving away methods he may have developed to create his ... unique style. " Because software programs provide numerical information about each element in an illustration, an illustrator is documenting and delivering his or her unique and closely guarded techniques. Is it wrong for another illustrator to look at those techniques? What prevents the next easy step of borrowing those techniques?

He had developed an automated procedure that enabled his clients to create fully formatted text. He created "macros" that is , sequences of commands that are automatically performed by hitting one key. His client applied typographic formats to entire sections of the catalog with a single keystroke. M:Y" friend then "poured" the formatted text into his page layout templates, which he had set up to accept the formatted text. In addition, he had found superb illustrators who worked with drawing programs, so that the illustrations were on disk, too.

He had undercharged his client for his original catalog design, because he knew that he would eventually streamline the production enormously and make a good profit. And he was right. But just when things looked like he ' d get a return on his investment, he lost his employees and his client. Here ' s how desktop publishing did him in.

Because the layout of the catalog was in the form of templates on disk , it could be copied (stolen) without anyone knowing. So his former employees could easily take the "electronic mechanicals" and continue where they ' d left off when they were working for him. The beauty , and danger, of digital data is that there ' s no such thing as a copy. Everything is an original when it's in digital form. His employees could also lift the fonts.

When my friend finished his story I said, "That' s horrible.

It ' s blatant. It ' s stealing! " And the ultimate design crime.

"It' s unethical!" Later, as I left my friend ' s studio with a "borrowed copy" of a software utility, I blushed at my selfrighteous attitude, and was struck with a new realization.

In this age of easy lifting, we may all be succumbing to a worrisome tendency.

What starts out as innocent becomes insidious. We excuse ourselves by saying that we ' re not taking anything away from anyone we know ; we ' re making copies. And we glamorize our illegal (and they are illegal) actions by thinking that we're techno-Robin Hoods; the stuff costs 168

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Bull. each other off. Just as software developers are anonymous , so are designers and artists. "Innocent" copying is rampant.

Designers in video production houses have bookcases full of graphics that they digitize and alter without a second thought, just as though the books were Dover clip art.

The dangers of electronic creation and delivery of artwork, photography and design result in antagonistic reactions.

My friend now says , "I'm going to have all my future employees sign non-disclosure and non-compete agreements."

Brickley suggests that software companies " ... create their programs with a feature that will allow the artists to lock files with a password."

Nathan Benn and Cary Wolinsky , contract photographers for National Geographic, are exploring the feasibility of a licensing entity. Until then, they do not authorize the use of their photograph in electronic media.

The issues of protection and compensation of art as digital data are young. We should fight for stricter control and prevention, or a more open exchange with compensation, or both. There will be a barrage of legal and technical acrobatics which is unfortunate. It will add time and money to every service we give and get.

But whatever combination of protection and compensation we do eventually develop, one thing is clear. We must begin by being aware of our own crimes and misdemeanors. If you want to protect your work, then start by refusing to illegally copy any digital data.

Ethical practice starts at home. © 1990 W . Richmond

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LEGAL

AFFAIRS

TAD C RAWFORD

ILLUSTRATOR'S PERMISSION FORM The following article and form are taken from the recently published book, Business and Legal Forms for Illustrators, by our regular legal columnist, Tad Crawford. The book includes a discussion of and checklists for seventeen forms for illustrators, including a confirmation of assignment, agent's contract, book contract, collaboration agreement, licensing contract and copyright transfer.

ANY PROJECTS require obtaining permission from the owners of copyrighted materials such as photographs, paintings, articles or excer]3{s from books. The illustrator ignores obtaining such permissions at great peril. Not only is it unethical to use someone else's work without permission, it can also lead to liability for copyright infringement.

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Of course, some copyrighted works have entered the public domain, which means that they can be freely copied by anyone. For works published by United States authors on or before December 31, 1977, the maximum term of copyright protection was 75 years. If such a work is more than 75 years old, it should be in the public domain in the United States (but may have a different term of protection in other countries).

For works published on or after January 1, 1978, the term of protection is usually the life of the author plus 50 years, so these works would only be in the public domain if copyright notice had been omitted or improper.

This complicated topic is discussed fully in Legal Guide for the Visual Artist. The absence of a copyright notice on works published between January 1, 1978 and February 28, 1989 (when the United States joined 174

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the Berne Copyright Union) does not necessarily mean the work is in the public domain. On or after March 1, 1989, copyright notice is no longer required to preserve copyright protection, although such notice does confer some benefits under the copyright law. A basic rule would be to obtain permission for any work published on or after January 1, 1978, unless the illustrator is certain the work is in the public domain.

Fair use offers another way in which the illustrator may avoid having to obtain a permission, even though the work is protected by a valid copyright.

The copyright law states that copying "for purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use) , scholarship, or research, is not an infringement of copyright." To evaluate whether a use is a fair use depends on four factors set forth in the law: "(1) the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes; (2) the nature of the copyrighted work; (3) the amount and substantiality of the portion used ... and (4) the effect of the use upon the potential market for or value of the copyrighted work."

These guidelines have to be applied on a case by case basis. If there is any doubt, it is best to seek permission to use the work.

One obstacle to obtaining permissions is locating the person who owns the rights. A good starting point, of course, is to contact the publisher of the material, since the publisher may have the right to grant permissions . If the author's address is available, the author can be contacted directly. In some cases, permissions may have to be obtained from more than one party. Author's societies and agents I 9 9 0

may be helpful in tracking down the owners of rights.

For an hourly fee, the Copyright Office will search its records to aid in establishing the copyright status of a work. Copyright Office Circular R22, "How to Investigate the Copyright Status of a Work," explains more fully what the Copyright Office can and cannot do. Circulars and forms can be ordered from the Copyright Office by calling (202) 707-9100.

Permissions can be time-consuming to obtain, so starting early in a project is wise. A log should be kept of each request for a permission. In the log, each request is given a number. The log describes the material to be used, lists the name and address of the owner of the rights, shows when the request was made and when any reply was received, indicates if a fee must be paid and includes any special conditions required by the owner.

Fees may very well have to be paid for certain permissions. The standard book publishing agreement does not provide for the publisher to pay these fees, although the illustrator can negotiate for such a contribution. Also, publisher's agreements usually make the illustrator liable if lawsuits develop for permissions which should have been obtained by the illustrator.

In any case, the illustrator should keep in mind that permission fees are negotiable and vary widely in amount.

For a project that will require many permissions, advance research as to the amount of the fees is a necessity.

Filling in the Form: The form should be accompanied by a cover letter requesting that two (Continued on page 176)

(Top) The Children's Museum of San Diego Annual Report Designers: David Jervis, MaeLin Levine, Visual Asylum Printer: Hands on Printables, The Children's Museum of San Diego Merchant: Zellerbach, San Diego Paper: Starwhite Vicksburg

(Center) Times Mirror 1988 Annual Report Designer: Jim Berte, Robert Miles Runyan & Associates

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The Special Judges Awards are displayed here, while a show catalog with all the winners is available from your local Simpson Paper distributor.

TAD CRAWFORD

copies of the form be signed and one copy returned. The name and address of the illustrator, the title of the illustrator's book, and the name of the illustrator's publisher, should be filled in. Then the nature of the material should be specified, such as text, photograph, illustration, poem and so on. The source should be described along with an exact description of the material. If available, fill in the date of publication, the publisher and the author. Any copyright notice or credit line to accompany the material should be shown. State after Other Provisions any special limitations on the rights granted and also indicate the amount of any fee to be paid. If all the rights are not controlled by the person giving the permission, then that person will have to indicate who else to contact. If more than one person must approve the permissi"bn, make certain there are enough signature lines. If the rights are owned by a corporation, add the company name and the title of the authorized signatory. A stamped, self-addressed envelope and a photocopy of the material to be used might make a speedy response more likely.

Permission Form The Undersigned hereby grant(s) permission to _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ (hereinafter referred to as the "Illustrator"), located a t - - - - - - - - - - - - - - - - - - - - and to the Illustrator's successors and assigns, to use the material specified in this Permission Form in the book titled

to be

published b y - - - - - - - - - - - - - - - - - - - This permission is tor the following material: Nature of material _ _ _ _ _ _ _ _ _ __ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Source _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ Exact description of material, including page numbers_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __ If published , date of publication _ _ _ _ _ _ __ Publisher - - - - - - - - - - - - - - Author(s} _ _ _ _ _ _ _ _ _ __ _ _ __ This material may be used in the Illustrator's book and in any future revisions and editions thereof, including nonexclusive world rights in all languages.

It is understood that the grant of this permission shall in no way restrict republication of the material by the Undersigned or others authorized by the Undersigned.

If specified here, the material shall be accompanied on publication by a copyright notice as follows._ _ _ __

_

and a credit line as f o l l o w s - - - - - - - - - - -- - - - - - - - - - - - - Other provisions, if any: - - - - - - - - - - - - - - - - - - - - - - -- - - If specified here, the requested rights are not controlled in their entirety by the Undersigned and the following owners must be contacted: - - - - - - - - - - - - - - - - - - - - - - - - - - - -

One copy of this Permission Form shall be returned to the Illustrator and one copy shall be retained by the Undersigned .

Negotiation Checklist: • State that the permission extends not only to the illustrator, but also to the illustrator's successors and assigns.

Certainly the permission must extend to the illustrator's publisher.

• Describe the material to be used carefully, including a photocopy if that would be helpful.

Authorized Signatory

Date

Authorized Signatory

Date

its amount, will depend on whether the project is likely to earn a substantial return.

certain one copy of each signed permission has been returned for the illustrator's files.

If you wish to order Business and Legal Forms for Illustrators, send

• In an unusual situation, seek exclusivity for certain uses of the material.

This form does not seek exclusivity.

• If a fee is paid, add a provision requiring the party giving the permission to warrant that the material does not violate any copyright or other rights and to indemnify the illustrator against any losses caused if the warranty is incorrect.

• Negotiate a fee, if requested.

Whether a fee is appropriate, and

• Keep a log on all correspondence relating to permission forms and be

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• Obtain the right to use the material in future editions and revisions of the book, as well as in the present edition.

• State that nonexclusive world rights in all languages are being granted.

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$15.95 per copy plus $2.50 per order for shipping and handling to Allworth Press, 10 East 23rd Street, Suite 400, New York, NY 10010. New York State residents must add sales tax .

©Tad Crawford 1990

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OPINION/COMMENTARY

JoN W EIMAN

SELF-REPRESENTATION LLUSTRATORS ALL HAVE THE SAME problem. One way or another, they have to sell their work. In a sense, art is a product. The artist is hired, on the basis of skill and past performance, to create a visual image that the client will use for some purpose. It is different than selling mattresses, but the principle is the same. This is a fact that many of us realized only as we hit the brick wall of reality after graduating from art school.

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Business Skills : This area is the most important of all.

The ability to get an art director to take time out of a busy schedule to see you is a major talent. Being aggressive yet polite is very useful. During an interview, a good rep has to be able to manipulate the pace of how the portfolio is being viewed. I have had art directors continue to turn the pages of a portfolio while they were talking on the telephone. It takes a great deal of tact to ask them to pay attention.

Art schools tend to focus on the aesthetic aspects of illustration. Students learn about concept, design, technique and style. Most have a degree of innate talent which has been developed and honed with years of hard work and commitment, but they usually don't know how to make a cold call to a "too-busy-to-see-you" art director.

Instilling confidence in clients is part of a rep's responsibility. To some degree this can be achieved by maintaining an air of professionalism, even though the finished product is still the ultimate proof of stature.

I have represented my own work for twelve years . It has been a challenge and a joy and a headache, depending on the circumstances. To be your own rep is to willingly combine the artist and the salesperson. Being a good salesperson takes as much skill and requires as much practice as producing the artwork itself. As an artist, you need talent, an ability to express emotion, a good design sense and various hand skills. Salespeople are, to some degree, actors. Truthfulness about how they feel is not a prerequisite. Their job is to sell the product, period.

When negotiating, a poker face is a good thing. Most artists are not used to masking their emotions.

There are several essential things that one needs as an artist/rep that the illustrator should be aware of.

Clothing: The artist can work at home in pajamas if so inclined. No one will care as long as the work is good.

As a rep, it is advisable to have a wardrobe which is fairly versatile. If you are about to go to a meeting where large sums of money may be discussed, it might be a good idea to look as if this isn't your first time in the big leagues.

A suit would certainly be preferable to paint-spattered jeans and a T -shirt.

Verbal Skills: You must be articulate to communicate effectively with your clients. During negotiations and any discussions relating to the visual part of the project, your words are the key to mutual understanding.

Social Skills: Being able to "make friends" is a valuable asset. Some artists may be antisocial and don't want to have to be "friendly" just to sell their work. It is sometimes a stretch, but most good reps are able to be charming on demand.

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The negotiation is the single most critical point in the life of any job. Negotiating on behalf of yourself is sometimes a frightening prospect. Pricing, reproduction rights, usage and the signing of any contracts or purchase orders are all important to how well you're being compensated and what you're ultimately worth as a professional.

This aspect of the business scares most young illustrators.

Many times, that fear leads to financial and legal disaster.

The Graphic Artists Guild has played a large role in my education about contract negotiations particularly with respect to reproduction rights. They also provided me with an understanding of copyright laws and the dreaded "work-for-hire" contract. The Guild offers a great deal of information via their lectures, publications and education workshops.

The most tedious aspect of representing yourself is the paperwork. After completing a job, an invoice has to be sent and tracked to make sure it has been paid. It is embarrassing to have to call a client for your fee, but the alternative is even less pleasant.

We started out as the "artist." We have also become the salesperson, the businessperson, the bookkeeper, the collection agent and the accountant. Not all of us are successful at maintaining all these personas and that is why God created reps.

The methods by which illustrations are sold are: The Portfolio: This is an amalgam of samples or tearsheets that are either shown by personal appointment, droppedoff, mailed, sent by overnight courier or messengered.

Promotion: This is usually a printed sheet that showcases the artist's work and is either mailed to art directors or is a paid advertisement in a source book, of which there are many.

KEITH BRIGHT DESIGNER, BRIGHT & ASSOCIATES, LOS ANGELES

"The WORKBOOK'S great. I never leave home without it."

JoN WEIMAN

These methods are identical, whether you have a rep or not. If you do, the rep will usually share the cost with you.

There are pros and cons to both sides of the argument, whether to rep your own work or not.

On the positive side of self-representation is your contact with the outside world. Most illustrators work alone all day. Seeing clients gives you a chance to get out of the studio and see the sunlight. You are in full control of every aspect of the business, so there are no surprises down the road. You have a clear vision of who your clients are and what makes them tick. You know their names and their faces.

The one real negative about being your own rep is that the time spent selling and negotiating with clients could be spent working. But, if you're paying a rep 25% or 30% of your income, you're spending a quarter of your time working for them anyway. I'd rather work for myself.

On the positive side of having a rep, if you don ' t want to be in the position of p~~cing your work and going through the rigamarole of showing your portfolio, a rep is an alternative. They will also protect your ego from unpleasant comments about your work or the rejection you might feel from a negative portfolio interview. A rep will also bill the client and make sure that the invoice is paid. As I stated earlier, a rep will save you time. There is also the glamour of being able to say, "Call my agent. I never discuss money. " On the downside, many artists who have reps never get to meet their clients, so they are ignorant as to where their work comes from. There is also the possibility of miscommunication regarding the job itself. Some reps have the illustrator and the client communicate directly , but more often than not, this is not the case.

All in all, the choice of whether to have a rep or not is really one of personal preference. I spoke about this subject to several illustrators who have all had a great degree of success repping themselves. Three of them agreed to be quoted for this article. Each one has a distinct style and at least fifteen years in the business.

Mel Odom had a rep early on in his career, but he has been his own agent for the past ten years. He had this to say, "After my last agent took my money, left town and had a sex change, I started repping myself." Mr. Odom's work has been regularly featured in Playboy and Rolling Stone , and has appeared on a multitude of hardbound and paperback books. He has had books of his work published in both the United States and Japan.

David FeBland has had his work animated for television commercials, as well as used for a billboard in Grand Central Station. He has done movie posters, book covers , 182

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promotion, editorial and advertising. His multi-faceted, ever-evolving style has been marketed in the United States and Europe.

"I have chosen to rep myself in the Northeast by engaging the use of secretaries and assistants to provide many of the functions of an agent. The only service that such an individual cannot adequately provide is the admittedly critical one of negotiation, but I feel comfortable enough to fill that role myself.

"Before rushing to hire a staff, however, an artist should weigh these advantages against the interpersonal and organizational problems inherent in being a studio manager and boss."

Though FeBland reps himself in the immediate area in which he lives, he does have four different reps in other parts of the country and abroad. He had this to say about possible problems, "An agent's eagerness to make a sale, as well as maintain his access to his client for his other artists, might actually compromise his willingness to negotiate a deal favorable to me, on such matters as copyright, future usage and work-for-hire. Issues such as these often provide a conflict of interest for artists' reps."

Roger Huyssen is an eighteen-year veteran in the field of advertising illustration. His work has appeared on numerous album covers , movie posters and magazine covers for Time, Esquire and New York. He has concentrated predominantly on work for corporate clients such as Eastern Airlines, Pepsi-Cola and Pennzoil. Mr. Huyssen has always represented his own work and has found this to be well suited to both hi s career and his personality.

"I'd rather have a long-term relationship with an art director than a rep. " He enjoys the contact and communication with both art directors and the business , and feels that the success or failure of his career lies solely with him.

"You ' re never going to find anyone more interested in your career than you are."

As for his feelings about representation , he believes that it is a healthy thing for many artists who don ' t want to deal with the public. "For those artists, it's more efficient."

In conclusion, it is necessary for all of us who produce artwork for a living to assess our strengths and weaknesses and make the appropriate choice.

An agent can be a great asset. But when I walk into an art director' s office to show my portfolio and he or she looks up from their desk, view s my suit and tie , and inquires, "Are you his rep? " I always say with a smile, " Yeah , right now I am."

•

DOUG GITHENS ART DIRECTOR, CRAMER-KRASSELT, CHICAGO

"Hey, I can see the whole country from here."

BooK R EVIEWS ENVISIONING INFORMATION

By Edward R. Tufte Publi hed by Graphics Press P.O. Box 430, Che hire, Connecticut 06410

$48.00

This is the second book on information design written and published by Edward Tufte, a professor of statistics, graphic design and political economy at Yale University.

His first book, The Visual Display of Quantitative Information, was published in 1983 and discussed theories of statistical graphics.

This book covers a broader spectrum of information graphics by looking at the many different ways to display complex data. It is not a how-to book, but more an intellectual discussion on what a designer should be thinking when presenting information. The book's presentation is understated, richly illustrated, and the handsome design is appropriate to the content.

Charts, diagrams, graphs, tables, guides, instructions, directories and maps comprise an enormous amount of material. Despite the beauty and utility of the best work, the design of information has received little critical review. Richard Saul Wurman, a respected organizer of information, has stated many times that graphic designers

are more interested in the presentation than in its ability to explain. "In the few schools where I've seen courses in graphs and charts and maps, the judgement of those problems is in how good they look and not how they function. " Throughout the book are small bits of wisdom and warnings against the use of ornament that serves no useful purpose. Tufte warns against what he calls a grave sin of information design: "Pridefully Obviou Presentation," where the attraction is toward the design of the information more than the information itself. He also mentions the term "chartjunk," a visual window dressing of information where everything counts but nothing matters.

"Chartjunk promoters imagine that numbers and details are boring, dull and tedious, requiring ornament to enliven ... Cosmetic decoration will never salvage an underlying lack of content ... Clarity and simplicity are completely opposite simple-mindedness."

Tufte feels that the principals of information design are universal, like mathematics, and are not tied to unique features of a particular language or culture and consequently , his illustrations come from seventeen countries and seven centuries.

Examples include the manuscripts of Galileo, timetables, notations describing dance movements, aerial photographs,

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RIP GEORGES ART DIRECTOR, ALLURE MAGAZINE (CONDE NAST PUBLICATIONS)

I use it ... and have for 10 years. Thanks Workbook.

BooK REviEws

the Vietnam Veterans Memorial , electrocardiograms, drawings of Calder and Klee , computer visualizations and a textbook of Euclid ' s geometry.

The first chapter, "Escaping Flatland," discusses a variety of design strategies to increase the number of dimensions that can be represented on a flat surface to increase the density of information.

The second chapter, "Micro/Macro Readings," shows examples of large quantities of data at high densities and how the same bit of information can be multi-functional.

An excellent example is Constantine Anderson's aerial perspective drawing of Manhattan. Though extremely complex, the viewer can see quite clearly the detail of windows in buildings, store fronts, bus shelters and telephone booths and, at the same time, get a sense of the mass of structures and possibly trace personal excursions.

Other chapters discuss how layering and separating information can enrich the content of displays and reduce visual noise; how multiple images can visually enforce comparisons of change over time for the same object, or give an instant overview of the scope of alternatives; how to use color with information and how to present space and time.

Tufte ' s style of writing is very academic. I certainly didn ' t find this book to be the easiest reading, but I would recommend it to anyone who is truly interested in clearly communicating detailed information.

BRIEFLY NOTED: ART FOR THE LoNDON UNDERGROUND: London Transport Posters 1908 to the Present by Oliver Green (Rizzoli International Publications, Inc., 300 Park Avenue South, New York, New York, $29.95). The posters reproduced in this book are a representative selection from over three thousand originals held in the London Transport Museum's archives. They span eighty years and provide an interesting cross-section of British style in this century. They also document how the London transportation system developed the poster medium to create an image for its entire organization. A brief introduction discusses the origins of the underground railway system and the innovative managers whose attempts to increase ridership created one of the most comprehensive collections of English graphic design.

How TO SELL YouR PHOTOGRAPHS AND ILLUSTRATIONS

by Elliott and Barbara Gordon (Allworth Press , 10 East 23rd Street, New York, New York 10010, $16.95).

Long-time readers of CA will undoubtably be familiar with Barbara Gordon ' s free-lance column. Elliott and 186

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Barbara are partners in Barbara Gordon Associates Inc , a New York-based firm representing illustrators and photographers. Their book is a step-by-step business plan written for both the beginner who must decide if he or she is ready for the "big plunge," and the professional who may have reached market saturation and must contemplate other directions. Chapters include information on where and what the markets are, the portfolio , selfpromotion, pricing, the business side and representation.

The Gordons' writing is straightforward and honest. Their best advice may be the last you need to hear, " Never take anything for granted and if you ever stop enjoying what you are doing, leave the field. "

1990 HuMOR & CARTOON MARKETS edited by Bob Staake (Writer ' s Digest Books, 1507 Dana Avenue, Cincinnati , Ohio 45207, $15.95 plus $3.00 postage and handling).

The first book of its kind, this volume features 500 listings of book publishers , ad agencies , animation studios, comic book publishers , magazines , TV and radio production companies and syndicates interested in buying humorous art and writing. Each listing includes contact name, address, telephone number, pay rates and submission requirements. Each section is prefaced by information and advice from buyers and creators of humor. As with other books in this series (Photographer' s Market, Artist' s Market, etc.), the detailed listings are worth more than the cover price of the book.

DESKTOP VIDEO by Michael Wells (Knowledge Industry Publications, Inc., 701 Westchester Avenue , White Plains , New York 10604, $39.95). If you ' re a regular reader of Wendy Richmond's column , you know she is a proponent of expanding the design profession beyond the boundaries of print. As desktop publishing has produced near typeset quality at a fraction of the cost of high-end typesetting, desktop media is doing the same in the preand post-production arena. Character generators , video paint-box systems , editing, and digital video effects can now all be produced using the same personal computer.

As with DTP, you will sacrifice some quality, but a total package, with camera, could cost as little as $20,000 versus several hundred thousand. Easy to read, this guide describes what it takes to put a system together and what you can do with it. Since the industry is changing rapidly, the reader is cautioned to use this information as a starting point for researching their own personal needs. Even the author found manufacturers and products changed between his first and final drafts of this book.

- Patrick Coyne

Explore your potential

Signature can take your work in directions

on Signature/rom Mead.

you may never have imagined possible.

Signature is a bright white, number one coated paper from Mead. With a high brightness o/86. it's among the brightest of coated sheets , which means it gives you both better printability and more contrast.

In dull stock, Signature delivers a unique combination of /ow reflection and high resolution. In gloss stock , as you can see from this page, the polished surface creates textures of superb clarity.

Hold it in your hand and dose your eyes , and Signature still communicates. Its sheer physical quality has the power to give your work importance, substance and weight .

This combination offeatures does something

Mead

amazing . At the same time Signature takes

Courthouse Plaza N. E.

your work in new directions , it can stop

Dayton , OH 45463

readers in their tracks.

I-800-345-MEAD

For more information, call 1-8oo-345-MEAD. We can help you discover just how good your work can be.

This is printed on Signature/rom Mead, 100 lb. gloss text, with four process colors, one match color, and off line gloss varnish.

SPECIAL

D

S C 0

U N T

0

F F E R

EXHIBITS-PLANNING AND DESIGN

by Larry Klein With introductions by Albert H. Woods and Harold J. Skramstad, Jr. Designed by Walter Bernard Published by Madison Square Press Over 100 exhibits by 45 internationally known designers including Barry Howard, John Follis, Herb Rosenthal, David Strong, Bruce Burdick and Chermayeff &Geismar.

252 pages, full-color. 275 photographs, hardbound 10" x 10~' Containing diagrams, charts, blueprints and a resource section.

Topics include: exhibit overview, commercial exhibits, museum exhibition, lighting and audio-visual.

Lan-y Klein

Because of a quantity purchase, we can now offer

The extensive portfolio section includes: The Treasures of Tutankhamun, The Olympic Experience, Chicago's Field Museum of Natural History, Energy Expo, Harbor Point, Cartier Restrospective in Los Angeles and the John Fitzgerald Kennedy Library.

The resource section provides information about museum organizations, trade shows and expositions, professional design organizations, stock system manufacturers, publications and periodicals of interest to the trade.

this important book at a great savings to CA readers.

Fill out the information below and send to: Communication Arts, P.O. Box 10300, Palo Alto, CA 94303 D Payment of $33.00 Is enclosed. CA will pay postage.

Originally priced at $45.00, Exhibits: Planning and Design is now available at the new low price of $33.00, shipping

D Please charge my credit card D MC D Visa Card Number

Expiration Date

LLLLLLLLLLLLLLLL Telephone Number

Signature

Name

and sales tax included.

Address

Cltr

State

No books will be shipped until payment Is received.

Zip

MATERIALS PHOTO WIPE

Scott Paper Company has recently introduced Scottpure, a low-lint, chemically pure wiper developed to "meet the critical wiping needs of the photographic arts industry."

These "critical wiping needs" include removing lint from negatives, cleaning overheads and etchings, and wiping chemically sens itive developing equipment in the darkroom. The wipes are manufactured by using a hydro-entanglement process that bonds textile fibers by using high-intensity water jets (sounds like an Esther Williams' movie). The process leaves no chemical residue from traditional bonding agents. For a free sample, write to Scottpure, S.T.A.R.T., Scott Paper Company, 2004 Sproul Road, Broomall , Pennsylvania 19008, or call 1-(800) 4 72-6881.

OvERHEAD TRANSPARENCY FILM

Arkwright Inc., offers clear overhead transparency film for use in color copiers, including color laser copiers.

The film is used to produce multi-colored overhead transparencies, as well as four-color overlays on layouts.

Produced from a stable polyester to resist buckling, curling or jamming the copier, boxes of 100 sheets are available from audio/~isual and office supply stores at a suggested retail price of $59.95. For more information

on how to dress-up your next presentation, contact Arkwright Inc., Department P, 538 Main Street, Fiskeville, Rhode Island 02823, or call 1-(800) 942-5900, or fax (401) 826-3926.

ELLIPSE C uTTING AND DRAWING TooL

The ElipsePro, from Anagrafic Systems, looks like a lunar landing probe but is probably a godsend to anyone who needs to produce accurate concentric ellipses and circles. The unit is a series of changeable rulers and levers suspended over a work surface and features a swivel cutter for making cuts in masking film, frisket or fine paper. The optional technical pen adapter will fit either Koh-i-noor or Staedtler pen tips. The brochure claims that you can create concentric or tapered ellipses as small as 1!4" up to 12". The 12" x 18" x 6" device weighs only two pounds and has a suggested retail price of $229 plus shipping and handling. For more information, contact Anagrafic Systems, Inc., 975 Garfield Avenue, Suite 1, Salt Lake City, Utah 84105, or call (801) 487-0872.

PRESSURE S ENSITIVE LABEL STOCK

Kimberly-Clark, Brown-Bridge has introduced an improved version of its Covermatte pressure sensitive label stock. The brighter, whiter and more opaque version is perfect for price increases or to cover those glaring typos. The company claims the label looks great with excellent imagery while still blocking out information underneath. To find samples of this cover-up, contact Brown-Bridge customer service at 1-(800) 548-5564. uNLIMITED uSAGE STOCK PHOTO COLLECTION

Stock Editions, Inc., has introduced The Image Tank, a collection of 720 fully released stock photos. The categories include business, finance, scenics, religion, sports, fashion, medicine, special effects and industry.

All images are provided in 35mm color transparency format and come in a locking file box including archival transparency protectors, portable light box, hand held viewer and a color coded label kit. All for only $1499 (Ouch!). For more information on whether these 720 photographs are images you would use, contact Stock Editions, 11026 Ventura Boulevard, Studio City, California 91604, or call 1-(800) 445-4495.

ARTIST STRAINER

1 I I I

I I I

NAME

A~~ CITY

SfATE _ _ ZIP__

PHONE _ _ _- ; o - - - - - -

[Q)

PORTFOLIO CENTER

L 190

Our graduates have an average starting salary of $25.000.

So whether you're interested in advertising. illustration. design or photography spending eight quarters with us is the smartest investment you can make. Send for more information orcalll-800-255-3169.

125 BENNETT ST. N.W.•ATLANTA . GEORGIA 30309

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1 I I I

II .JI

The stainless steel JLM strainer is ideal for airbrush artists who want to insure the material sprayed is clean of all particles (dust, pigment, food?). The strainer cleans all color material , thick or thin, with screens from #40 for heavy acrylics, to #100 for inks and dyes. For good performance, the manufacturer recommends cleaning the strainer right after using it with the same thinning agent that is used with the material you are spraying. For more

ASELECTION NO OTHER MARKER CAN MATCH. Creative freedom starts with color. Lots of it. And with over 260 colors-100 more than the leading marker- no one offers more freedom than PANTONE®* by Letraset® Color Markers.

Each vibrant hue corresponds to the PANTONE MATCHING SYSTEM Color Range, the world standard for color matching. So for maximum freedom of choice, your only choice is PANTONE by Letraset Color Markers. ro;-r 260 Vivid Col;;;;aGla~;- -

-

-

-

-

-

-

-,

I Send for your FREE PANTONE by Letraset Color Marker Chart, I I I and NEW PANTONE by Letraset Color Tint Marker chart.

I I I l nu l oo~m I I I I I 1 ~ ~ ~ I Send coupon to: I Color Marker Charts, Letraset USA I NAME

'Pantone. Inc.'s check-standard trademark for color reproduction and color reproduction materials.

Process color reproduction of PANTONE• -identified colors may not match solid color standards. Use current PANTONE Color Reference Manuals for accurate color.

@ ESSELTE C Copyright 1990 by Esse~e Pendaflex Corp.

All rights reserved .

ADDRESS

~0 Ei~nho~ Drive, Par~us, NJ 0765~ _ _ _ c~1~~

Letraset®

MATERIALS

information, contact Motor Guard Corporation, Magna Products, Manteca, California 95336, or call (415) 838-7777 .

Each color is identified with its constituent colors and printing sequence. For more information, contact Pantone, Inc., 55 Knickerbocker Road, Moonachie, New Jersey 07074, or call (201) 935-5500.

D RAFTING T ABLE

The Sierra Group has introduced the Triad hi-tech drafting table. The only thing hi-tech I can see is that the frame is metal tubing. The most important design feature is an adjustment mechanism that allows the table top to go from 0 to 45 degrees in a matter of seconds . For more information, contact Bruce Robins, Sierra Group, 3100 Glenwood Avenue, Philadelphia, Pennsylvania 19121, or call (215) 763-3077.

M ETALLic/P RocEss C oLOR G uiDE

Pantone has introduced its Metallic Integrated Process Color Selector. This guide, with the impressive sounding title, was created to aid in the visualization and reproduction of intermixed metallic and process colors. Using the impressive sounding "Metallic Integrated Process Printing System" (why not just call it a six-color press?), the guide is a series of color charts with 10% increments of any two process colors, then Pantone added PMS 873 Gold and PMS 877 Silver in 20% steps for a total of 7,900 metallic colors. Sounds like heavy metal heaven.

Pinwheel.

See for yourself the difference between ordinary and best.

Screen printed design and package camps, beauty packs, color corrects, shrink wraps, decals, transfers, Identicolors~ wax backs, die cutting and embossing. Especially for art directors and designers in short runs of two to 200. Also pre-press camera services, super veloxes, High Definition® and Laserline®halftones, ad composites, b&w and four-color special-effects and precision fine-line camera work.

Send business card or letterhead for free subscription to the Pinwheel Pink Pages and 24-page booklet which explains why Pinwheel screen printing is A Horse of a Different Color.

Schaedler Quinzel Inc., 404 Park Ave South, New York 10016 Phone 212 684-5140 Fax 212 684-4543

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D ETAIL B RUSHES

Yasutomo & Co. has introduced DetailMaster, a new line of detail brushes with octagonal shaped handles and large ferrules (the metal crimp holding the bristles to the handle). Brush hairs are a mix of natural fibers and Taklon, a synthetic sable-like fiber. For additional information, contact Yasutomo & Co., 235 Valley Drive, Brisbane, California 94005, or call (415) 468-7066.

LITERATURE FoR YouR FILES

A request on your letterhead to the following companies will bring you the literature described .. free unless otherwise noted.

Maple Roll Leaf Color Specifier ... features 99 colors of stamp foils available from Maple Roll Leaf Company Ltd. The 1990 edition includes a range of 33 metallics (including twelve golds), gloss and matte solids and a palette of pearl translucents. Each foil sample has a row of tear-off tabs with the specified color number and a die-cut circle for easy overlay color match. Your free sample is available by writing Tom Wigle at Maple Roll Leaf, 2285 Ambassador Drive, Windsor, Ontario N9C 3R5, or by calling (519) 966-4721.

Bolero Portfolio ... from Domtar Paper, is a promotional instrument to showcase its Concerto line of writing, text and cover papers. Shaped like a large ticket, the folder contains a program, invitation and symphony stationery samples for a concert of Maurice Ravel's Bolero. Paper colors include Maestro White, Rhapsody Blue (they couldn't resist), Staccato Grey, Allegretto Green and Andante Pink. The paper company hopes the promotion will charm " ... merchant sales representatives, printers, designers and end users just as Ravel's musical masterpiece charmed the audiences of the early twentieth century." To see if paper can be charming, contact your Concerto paper merchant or write to Domtar Fine Papers, 600 Summer Street, Stamford, Connecticut 06901.

Artistic Airbrush 1990 Catalog .. .is a mail order catalog listing over 70 airbrush models ranging from double action retoucher's airbrush to light industrial spray guns.

Each airbrush is detailed by a picture and a brief description of features. The catalog also features books, videos, pens, fabric paints, compressors, hoses, regulators, strainers, watercolors, acrylics, vinyl colors, brushes, studio equipment, colored pencils and miscellaneous equipment (what's left?). Get your copy by writing to Artistic Airbrush, P.O. Box 3318, Portland, Oregon 97208, or by calling 1-(800) 547-9750.

DRAWS YOUR ATTENTION

OVER 50 OFFICES WORLDWIDE INCLUDING:

Atlanta 404-233-9920 Boston 617-267-8866 Chicago 312-329-1817 Dallas 214-528-3888 Detroit 313-524-1850 Houston 713-668-0066 Los Angeles 213-930-0797 Minneapolis 612 -332-8935 Naples 813-566-3444 San Francisco 415-788-2208

CREATIVITY IN THE 90'S? KEEPING A SHARP EYE ON TIGHT BUDGETS WHILE SELECTING IMAGES THAT SATISFY YOUR WILDEST IMAGINATION. WE'RE THE IMAGE BANK, EXCLUSIVE REPRESENTATIVES OF 650 INTERNATIONAL SHOOTING STARS AND ILLUSTRATORS. BANtr 111 Fifth Avenue New York City

10003 212-529-6700

YOUR COMPLETE VISUAL RESOURCE. Stock Photography. Stock Illustration. Stock Film. @1990 :rHE IMAGE BANK, INC. ALL RIGHTS RESERVED

MATERIALS

Editor's Note: Earth Day awareness prompted many paper companies to introduce and promote recycled paper.

Environmental Protection Agency guidelines state that recycled paper must contain 50% pre- or post-consumer fiber content. In other words, papers can be called recycled even though all of the recycled portion consists of non-printed waste from the paper-making process, which historically has always been reused. While some of the following announcements did not offer literature, samples are usually available from local paper merchants.

Benefit .. .is the name of the brochure and the first recycled printing paper from Champion International. The uncoated paper is intended for cover, text and writing purposes and consists of 40 to 50% mill waste and 50% virgin softwood and hardwood pulp. Certain colors contain at least 10% de-inked, post-consumer waste. The brochure/swatch book contains samples of the seven colors and two fini hes available for the text, cover and writing weights. For your copy, contact Champion International Corporation, One Champion Plaza, Stamford, Connecticut 06921.

Stocking Grades Sample Book .. .from George A. Whiting Paper Company, contains swatch samples from its 100% recycled paper lines. Writing, text and cover weights of Coat of Arms, Ultima, Crestline and Cadence are shown as well as the three weights of Polar White Bristol. Available embossed finishes include Crestbark, Leather, Linen, Raw Silk, Krystalite, Crash and Ripple (for what kind of client would you specify Crash finish?). Other stocking information is included. Swatch books are available from your local paper merchant, or by writing George A. Whiting Paper Company, Menasha, Wisconsin 54952.

Weyerhaeuser Recycled Laser Copy Paper ... nicely sums up this new release from Weyerhaeuser Paper Company.

Introduced on Earth Day, this office equipment paper meets current Federal Environmental Protection Agency guidelines by containing a 50% waste paper content.

Recommended for laser printers, high-speed copiers and offset printing, it is available in a full range of sizes in a 20# basis weight. For samples, contact your local merchant or write to Weyerhaeuser Advertising Department, P.O. Box 829, Valley Forge, Pennsylvania 19482.

American Naturalists .. .is the title of the Simpson Paper Company's brochure on its latest recycled paper, EverGreen. Designed by Pentagram/San Francisco, this handsome brochure uses images that celebrate the spirit of the American naturalist movement. Low-tech printing processes such as letterpress, engraving and die-stamping are used along with modern lithography. Well-known naturalists are profiled including Theodore Roosevelt, Walt Whitman, John James Audubon and Johnny Appleseed.

Available in 70# text and 80# cover, EverGreen contains 194

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INTRODUCING rrr11H1111

a striking new publication of graphic design

CREATION is a new publication of graphic design, art and illustration- conceived, created and beautifully printed in Japan.

CREATION is a showcase of the individual brilliance, design aesthetics and the unique characteristics of leading international designers.

TACTICS DESI G N

CREATION is the brainchild of Yusaku Kamekura, Japan's foremost name in graphic arts. His guiding principle is to search for the essence of graphic design.

,-----------------------------, CREATION will be published four times a year, for five years. (It will constitute a 20-issue series.) ~Number of pages : ~Size : ~Text :

168 (full color).

83/4 x 1P/4 inches.

English and Japanese.

CREATION Order Form

CA/5-90

1 Year (4 issues) for $48.00. (Save 20% off the single-issue price .)

NAME ------------------~--------~---------------(please type o r p rint )

COMMNY ___________________________________________ ADDRESS ____________________________________________

Publisher : Rec ruit Co ., Ltd ., Tokyo, Japan .

Distributor: Zokeisha (USA) Inc. 51 East 42nd Street, New York, NY 10017 Tel: (212) 986-3120 Fax: (212) 986-3122

CITY _______________________ STATE

Zl p__________

My check is enclosed : 0$15 for Volume 1.

0 $48 for Volumes 1, 2, 3, 4.

Please bill me: 0 Mail to : Zokeisha (USA) Inc., 51 East 42nd Street, New York, NY 10017 L-----------------------------~

MATERIALS

50% mill waste paper and select colors contain a minimum of 10% de-inked post-consumer waste. For your copy, contact Simpson Paper Company, One Post Street, San Francisco, California 94104.

Discover Jersey Cover .. .is a new swatch book containing samples of Jersey Cover Leatherette Finish produced by the Riegel Division of the James River Corporation. The cylinder-made sheet is manufactured with a minimum of 50% recycled paper, so you can have the look of leather without harming animals. The brochure's cover is foil stamped in white to show that it can indeed be foil stamped. Copy highlights the benefits of the cover stock along with a specification chart and printing tips. To receive a copy , contact James River Riegel Division, 145 James Way, Southhampton, Pennsylvania 18966, or call 1-(800) 441-9292 Eaton Diamond White Bond Recycled .. .is made from 100% recycled paper. The 25% cotton content paper is airdried , with a cockle finish and is watermarked. Available in a 20# weight, the paper is recommended for office and personal communications. For more information , contact Keith Clark, Inc., o :~eil Road, Sidney, New York 13838, or call (607) 563-9411.

- P.C.

How A COMPANY LOOKS ON PAPER DEPENDS LARGELY ON THE PAPER.

NEw TECHNOLOGY DEVELOPMENTS Information on hardware, sof tware, and electronic services fo r graphic designers, art directors, photographers and illustrators.

PRESENTATION GRAPHICS PROGRAM

If you're interested in creating a slide presentation using a personal computer, check out Software Publishing ' s latest release of its Harvard Graphics software program.

The new program (Version 2.3) promises a little something for everyone. For example, if you're looking for short cuts to producing a great slide presentation, you ' re in luck. The new version has automatic chart and drawing functions. It ' s simple. Type in the numbers, select a chart style and color scheme from a collection and presto, instant presentation. It' s soooo easy, the company says, "artistic talent is no longer a prerequisite for creating a good-looking chart. " I know , this probably isn ' t a hot selling point if you ' re an artist. But, you can still make your own charts and graphs with the program' s basic editing and drawing functions. To give you an edge over the program in creating charts and graphs , Version 2.3 has a bunch of new drawing functions such as freehand and rotate as well as 500 new graphic symbols in the built-in library. Good luck! The Harvard Graphics Version 2.3 program will operate on any IBM PC , XT, AT, PS/2 or compatible computer with 420K bytes of system memory. Also, it requires DOS 2.1 or later version, a hard disk drive and a minimum CGA (Color Graphics Adapter) graphics card. The new version is priced at $495 ; the upgrade price is $75 for current Harvard Graphics program owners. For more information, contact Software Publishing Corp. , 1901 Landings Dr. , P.O. Box 7210, Mountain View , California 94039 , or call (415 ) 962-8910.

Nothing gives a corporate identity program greater impact than cotton

CoLoR S EPARATION STANDARD

fiber paper. Its crisp texture and

During recent months, the momentum has been building behind Aldus's color separation standard, called the Open Prepress Interface (OPI). This standard offers a way for desktop publishing programs such as Aldus's Pagemaker to pass along sizing, positioning and cropping information to desktop color separation software. With this information, the color separation software can combine the color images into the color plates of documents or illustrations. So far , the li st of supporters for Aldus's OPI standard has been joined by two prepress vendors; Dr.-Ing. Rudolf Je Hell GmbH (what a mouthful! ) and Crosfield. Both firm s recently demonstrated new OPI-compatible systems. Hell 's new OPI-compatible system called ScriptMaster will be available in the third quarter 1990 while Crosfield ' s product will be available in the second quarter. Prices were not available. Other firm s supporting OPI include Diadem, Howtek and Networked Picture Systems.

(Continued on page 200)

elegant finish enhance everything No other paper gives your clients' correspondence a more commanding presence. And no other paper is so inherently strong that it can perform under the most demanding production techniques and printing processes.

For presence, performance and prestige that lasts, always specify cotton fiber paper.

COTTON FIBER PAPER MANuFACilJRERS For DISCOVERY, our Guide to Cotton Fiber Paper, write on your firm's letterhead to Discovery, API, Dept. C, 26o Madison Avenue, New York, NY 10016. Or call (212) 340.{)798.

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KOH·I·NOOR Introduces

ring rapidolinerTM

§ ree-stYie Sketching li1 rectse . L.tne Drawtng .

Iii

Replacement point/ ink-cartridge assembly

The versatile pen for Drawing ...Writing . . . Sketching!

Koh-1-Noor has launched the new Rotring Rapidoliner™ as the new versatile pen for all reasons! A pen with virtually unlimited applications: Free-hand sketching, commercial illustration , arts/crafts and fine-art drawing .. . just to name a few. The Rapidoliner nib is tubular and radiused , making it possible to hold the pen comfortably at an angle for fast, flowing sketching or a tighter-style detailed drawing.

It moves in any direction on the drawing surface, much the same way as a pencil is used but with even less hand pressure than is required by pencil; this feature makes the Rapidoliner pen a handy instrument for writing, note-taking , book-margin notations and many other writing uses in the home, studio or classroom .

The Rapidoliner pen is compatible with all templates with inking lifts, and works well in all compasses with " universal" attachments or in compasses fitted with an adaptor. Rapidoliner

ink is easily removed from tracing paper or other select papers with imbibed block or strip erasers. Rapidoliner pens are available in 4 individual line widths as complete pens, or pre-filled, replacement ink cartridges, as well as in 2· and 4-pen sets. When the generous volume of ink is depleted in the pen , dispose of the empty point/cartridge assembly with a line-width color-coded replacement cartridge. Ink provided is formulated for long open-pen time, which means the Rapidoliner pen will start right up even if it should be laid aside for a while with the cap off.

Send coupon for more information.

Koh-1-Noor Rapidograph, Inc., 100 North St., Bloomsbury, NJ 08804. (201) 479-4124.

In Canada: 1815 Meyerside Dr., Mississauga, Ont. LST 1G3. (416) 670-0300. ~-----------------1 Show me more, Koh-1-Noor! Please send me iterature describing the Rotring Rapidoliner™

NAME (please print or type) TITLE FIRM ADDR ESS

KOH·I·NOOR RAPIDOGRAPH® a r@)fring company

CITY

STATE

ZI P

I Koh-1-Noor Rapidograph , Inc., 100 North St. , Bloomsbury, NJ 08804.

L~~~~ ~:s~ ~-.:s:s:g.: ~~::.G~ © 1989 All rights reserved.

__ _

MATERIALS

Laree Yochum, a system specialist at Typecraft Press, a prepress house in Pittsburgh, gives Howtek's Colorscan system rave reviews. "OPI allows us to crop, size and position images more easily .. .it saves us time and money in stripping and pasteup," he said. Saving time and money always sounds like a good idea unless you're bored and wealthy. In that case, you can call me. Seriously, if you care for more information about Aldus's OPI standard or the manufacturers supporting the specification, contact Aldus Corp. at 411 First A venue South, Seattle, Washington 98104, or call (206) 628-6594.

MULTIMEDIA CoMPUTER AND SoFTWARE

What is more powerful, elegant and inexpensive than anything there ever was? Give up? Executives from Commodore Business Machines Inc. believe they have the answer. And it's a little hard to believe, but they're talking about a new multimedia personal computer and software. Commodore's new Amiga 3000 computer is basically a regular system but with all the necessary

components to make it a multimedia computer. All multimedia means is the combination of text, voice and video. So, to make the Amiga 3000 something more than a computer, Commodore has optional equipment such as audio speakers. Also, to complete the package, Commodore announced AmigaVision, a new multimedia software program for $149. The Amiga 3000 computer is based on either a Motorola 16Mhz or 25Mhz 68030 microprocessor. The 16Mhz computer is $3,299 and the 25Mhz model is $3,999. Both computers have a math coprocessor chip, 2M bytes of system memory, a 31;2" floppy drive and a 40M byte hard disk. It is available in July through Amiga's computer dealers. Commodore Business Machines Inc. is located at 1200 Wilson Dr., West Chester, Pennsylvania 19380, or call (215) 431-9100.

CoMPUTER PAINT BRusH TooL

A new paint brush tool designed by Wacom Inc. promises computer graphic designers a closer shot at simulating traditional paint brush strokes. The company says, its

Berol ®

PRISMA I

ART MAR Heads

© 1990 Empire Berol USA

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Any way you look at it, Berol® PRISMACOLOR® Art Markers make you a winner. With a broad tip for quick coverage and a fine tip for detail work. You buy one marker instead of two-and save money coming and going.

Best of all, PRISMACOLOR markers feature a central ink reservoir that flows freely to both tips. So you get a perfect match of brilliant color end to end.

Certified non-toxic PRISMACOWR Art Markers are sold

gouache brush allows artists to illustrate on a personal computer with the same brush strokes as oil, pastel or watercolor paint brushes. This new device (I'm going to call it a computer paint brush from now on) works on Wacom 's digitizing tablets and with Time Arts Inc.'s Lumena paint package. With the gouache computer brush, an artist can control brush wetness, drying-out time and footprint as well as brush type, paint medium, texture, and absorbancy of the background. This new tool is available in the second quarter 1990 for $4,000 when the next version of Lumena/Vista 3.4 is available.

Contact Wacom Inc. at West 115 Century Road, Paramus, New Jersey 07652, or call (201) 265-4226.

grayscale images into a computer format. It can scan standard size documents as well as oversize documents that are as big as 81/2" x 14" in size. Once an image is scanned, it is saved as a TIFF file, which is a format that can be 'read' by software programs. The scanner supports 256 levels of grayscale, which is considered pretty good because the higher the grayscale number the better the picture's resolution. Abaton's NeXT scanner kit is $595; the scanner is priced at $1,595. Both products are currently available through computer dealers. So, to find out how to make your scanner work, get in touch with Abaton. The company is located at 48431 Milmont Dr., Fremont, California 94538, or call (415) 683-2226.

SCANNER FOR NEXT COMPUTER

-Lisa Spiegelman

For all you rare, but lucky, NeXT Computer owners, this one's for you. Abaton is shipping an interface kit for its Scan 300/GS scanner that will allow the scanner to work with your fancy, black NeXT computer. Abaton's Scan 300/GS scanner can convert line art, halftone and

LISA SPIEGELMAN has written extensively on computer

technology. She has worked as a senior staff writer for PC Week and as a staff reporter for lnfoworld.

)LOR® individually or in convenient sets of 12, 24, 36, 48, 72 and 120 colors. Ask for them by name from your favorite art supply retailer, along with famous PRISMACOLOR Art Pencils and Art Stix~ Because with PRISMACOLOR art products, you just can't lose.

Tails

EMPIRE BEROL USA BRENlWOOD. TN 37027

C 0 M M U N I C A T I 0 N

A R T S

201

CLUBS , CONFERENCES, SEMINARS STANFORD

The 14th annual Stanford Conference on Design will be held at Stanford University in Palo Alto, July 26-28. The three-day conference presents an eclectic mix of speakers from various design fields who will focus on the design process, going beyond their portfolios in an exploration of problem-solving techniques. Some of the speakers include designer Scott Strasser; Rolf Fehlbaum of Vitra Design, Ltd.; architect/planner Denise Scott Brown; designer Syd Mead; designer Rick Valicenti; designer Tinker Hatfield; and Christopher Pullman of WGBH. The conference is limited to 300 participants in order to offer an environment that encourages personal and professional interaction for both the speakers and the participants.

Registration fee is $450. For information, write Beverly Smith, Director, Stanford Alumni Association, Bowman Alumni House, Stanford, California 94305, or call Steven McGriff or Beverly Smith at (415) 723-2027. Fax your request to (415) 723-3145.

SIGGRAPH '90 The 17th annual conference on computer graphics and interactive techniques is scheduled for August 6-10 at the Dallas Convention Center. The conference is sponsored by the Association for Computing Machinery's Special Interest Group on Computer Graphics in cooperation with the IEEE Computer Society's Technical Committee on Computer Graphics. To obtain a copy of the program, including details about speakers, hotels and conference events, write to SIGGRAPH '90 Conference Management Office, 111 E. Wacker Drive, Chicago, Illinois 60601.

Call (312) 644-6610 or fax (312) 938-1232.

DMAOC The Direct Marketing Association of Orange County announces its 1990 officers: president Andrew M. Pieter, Direct List Technology, Inc.; vice president Lisa Hiatt, Walt Disney 's Magic Kingdom Club; secretary Debra Van Gorden, Rogers Binding and Mailing; and treasurer Pamela Mora, Direct Marketing Consultant. DMAOC, P.O. Box 8002, Newport Beach, California 92658 , 1-800-426-6026

POP AI The Point-of-Purchase Advertising Institute elected a new chairman of the board, officers and three new members to the board of directors: chairman George F. Barnes, vice president/general manager of Chesapeake Display and Packaging Company, Sandusky, Ohio; first vice chairperson Lawrence S. Katz, vice president Goodren Products Corp., Englewood, New Jersey; second vice chairperson Janet Paris , account executive, Henschel-Steinau, Inc., Englewood, New Jersey. New board members are: Dennis Madigan, Carter Morris and 202

I L L U S T R A T I 0 N

A

N U A L

1 9 9 0

Bruce Teitelbaum. Treasurer Donald E. Ferguson, president Gor-Don Metal Products and Services, Scarborough, Ontario, Canada, continues for another term. POP AI, 66 North Van Brunt Street, Englewood, New Jersey 07631, or call (201) 894-8899.

CHICAGO

The 33rd annual Advertising Age Creative Workshop is returning to Chicago after appearing in New York for most of the 1980s. The conference will be held at the Chicago Hilton & Towers, August 8-11. For information, contact RAMA Management Services, 500 N. Michigan Avenue, Suite 600, Chicago, Illinois 60611. Call (312) 245-9011 or fax (312) 245-9015.

Binding Industries of America, the international association of trade binders , loose leaf manufacturers and suppliers to the industry, elected a new slate of officers: president Robert Tier, president Bindery Services, Toronto, Canada; first vice president Rodman Rothermel, president Buchan Industries, Clifton Heights, Pennsylvania; second vice president Francis C. Liedtke, II, executive vice president of marketing, Graphic Converting, Inc., Chicago; secretary John Quincey, president BOK Industries, LeRoy , New York; treasurer Barry Duke, president Bookbinders, Tinton Falls, New Jersey. James R. Niesen is executive director. BIA, 70 East Lake Street, Chicago, Illinois 60601. For information call (312) 371-7606.

MAINE

The 5th International Photography Congress will be held August 12-19 in Rockport, Maine. During the week, photography professionals will gather for panel discussions, portfolio reviews, exhibits and seminars. For information, write to David H. Lyman, Founder and Director, The Maine Photographic Workshops, Rockport, Maine 04856 or call (207) 236-8581.

DMI The 15th annual Design Management Institute 's conference is planned for September 16-20 at the Harbor View Hotel on Martha's Vineyard. Realizing design goals through effective group management will be the emphasis of this year's conference. International speakers will include design managers, experts in group behavior and creativity, strategic thinking and organizational behavior. In addition to examining methods fostering group creativity, lectures and interactive sessions will help design managers develop effective groups for implementing design programs. For details, contact Earl Powell, Director, DMI, 777 Boylston Street, Boston, Massachusetts 02116. Call (617) 236-4165 or fax (617) 424-8740.

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MONAONOCK Cover c.md Text Pc.1per\ of Orc;rrnctron

P A P E R

M I L L S

atermelon and Fish" is the work of Vivienne Flesher, Gold Medalist of the Society of Illustrators. A collection of Flesher's illustrations is featured in "Blues on Astrolite", published

by Monadnock Paper Mills to demonstrate the drama of color printing on AstroliteK. "Watermelon and Fish" is printed on Astrolite Smooth Cover 651b., the brilliant white premium Cover and Text paper

by Monadnock. Astrolite provides the creative specifier with consistently superior quality, outstanding opacity, excellent formation and uniform printing surface. Astrolite is available in 70, 80 and 100 lb. Text and 65, 80 and 100 lb. Cover weights.

To obtain a copy of "Blues on Astrolite" contact your Monadnock Paper Merchant or write to us at Monadnock on your letterhead.

Sample books for Monadnock's premium Cover and Text papers are available through your paper merchant or directly from Monadnock. These include super white Astrolite•·, exquisite mellow white Caress ~ , and neutral white, neutral pH Dulcet".

The lluollc1[10n IS cl fOIJI color llll'l( J(jl clDrl reprudu< ecJ or A 'r,)lltE' Smootrl ( OV('I 6r, lb It J'vcl I Llll ( 11l a s color Miller TP I 04 press r'lt 6000 IPH Magentct cHld yellow prl )( C'" IilkS Wl'IC' lliUdlflecl tN llliXIIl(j 50 c proCC'-S wrth 50 mcltch fiunrec.ccrr nk to Jppr ,)x·n 1Clll' trw fl, lLH'' t nc t • found If' tilt 11/• 1 I' ,,,, 11 l' Tile murn.lt ref/(" t Vf rll t \V 3' ~( c"l IIE'd d' I I ( liE' ,CfE't'r: u d ( rr J f t'/d ( mr It' I f,461M

ONAONOCK

PA P E R

M I L L S

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INDEX TO ILLUSTRATORS

Braids , Braldt 35 119 Wykeham Road Washington, CT 06793

A Allen, Julian 64 31 Walker Street New York , NY 10013 Arisman , Marshall 57, 70 314 W. 1OOth Street New York, NY 10025

Brickman , Bruce Lee 45 3-45-8 Nishihara Shibuya-ku , Tokyo 151 Japan

Asch, Gayle 134 26-08 Ditmars Boulevard Astoria , NY 111 05

Burke , Philip 68 163 College Street Buffalo , NY 14201

B Banthien, Barbara 42 127 Leland Way Tiburon , CA 94920

Butler, David 98 3803 Pennsylvania Kansas City , MO 64111

c

D Daigle , Stephan 92 5830 9th Avenue , Rosemont Montreal, Quebec H 1Y 2K2 Canada Davis, Paul 13 , 16, 21 14 E. 4th Street New York , NY 10012

Fiore , Patrick 128 Ringling School of Art and Design 2700 N. Tamiam i Trail Sarasota , FL 34234

Deas , Michael J . 29 39 Sidney Place Brooklyn, NY 11201

Fredrickson , Mark A. 9 9733 E. Burnett Tucson , AZ 85730

DeFiatto, Donna F. 127 1832 Pawnee Drive Olathe , KS 66062

French , Lisa 13 1069 Garden ia Avenue Long Beach , CA 90813

Delessert, Etienne 4, 11 , 100 P.O . Box 1689 Lakeville, CT 06039

G

Barnes , Michelle 138 111 Sullivan , #3B New York , NY 10012

Catrow, David 73 , 81 1023 Woodlawn Avenue Springfield , OH 45504

Baseman, Gary 81 443 12th Street, #2D Brooklyn , NY 11215

Conge, Bob 7 28 Harper Street Rochester, NY 14607

Baviera, Rocco 24 51 Firenze Street Hamilton , Ontario L9C 6T2 Canada Begin , Maryjane 130 87 Benefit Street Providence , Rl 02904

Cooper, Heather 107 Heather Cooper Communication by Design Ltd .

2 Gloucester Street, Suite 302 Toronto, Ontario M4Y 1L5 Canada

Benny , Mike 39 1228 N Street , #9 Sacramento , CA 95814

Cosgrove , Dan 128 405 N. Wabash , #2914 Chicago , IL 60611

Drescher, Henrik 18 P.O . Box 59 Durham, NY 12422

Biers , Nanette 109 123 Willow Avenue Corte Madera, CA 94925

Craig , Daniel 24 , 121 118 E. 26th Street , #302 Minneapolis , MN 55404

Duke , Lawrence W. 22 Star Route , P.O . Box 93 Woodside , CA 94062

Billout , Guy 41 , 87 , 98 , 103 225 Lafayette Street , Suite 1008 New York , NY 10012

Craig , John 32 Route 2, Box 2224 , Tower Road Soldiers Grove , WI 54655

E East , Stella 30 Doktergarden N-5730 Ulvik Norway

Booth , Martha Anne 119 P.O . Box 208 Montara, CA 94037

206

I L L U S T R A T I 0 N

Cronin , Brian 52 8 Terenure Park Terenure 6w , Dub lin Ireland

A N N U A L

l 9 9 0

F Fasolino , Teresa 116 233 E. 21st Street , #6 New York , NY 10010

Di-Maccio 57 c/o Russell Melcher 38 , Allee Saint Andrew Domaine De La Tuilerie 78590 Noisy Le Roi France Dinyer , Eric 32 5510 Holmes Kansas City , MO 64110

Elstad , Ron 123 18253 Solano River Court Fountain Valley , CA 92708

Gallardo, Gervasio 82 c/o Jeff & Frank Lavaty 509 Madison Avenue New York , NY 10022 Garns , G . Allen 127 4 E. 2nd Avenue Mesa, AZ 85210 Giguere , Ralph 61 2220 Delancey Place Philadelphia , PA 19103 Glaser , Milton 7, 11 , 16 207 E. 32nd Street New York , NY 10016 Goodrich, Carter 64 137 Water Street Stonington , CT 06378 Gurche , John 79 1203 W. Braddock Road Alexandria , VA 22302 Gustafson , Scott 36 5076 N. Wolcott , 3rd Floor Chicago , IL 60640

H Harlin , Greg 35 c/o Stansbury Ronsaville Wood , Inc .

17 Pinewood Street Annapolis , MD 21401 Hayes , Stephen F. 133 13400 S.W. Bay Meadows Court Beaverton , OR 97005 Head , Gary 91 , 107 6023 Wyandotte Kansas City , MO 64113 Helnwein , Gottfried 46 Burg Brohl Auf der Burg 2 D-5475 Burgbrohl West Germany Hend ler , Sandra 48 1823 Spruce Street Philadelphia , PA 19103 Hess , Mark 89 88 Quicks Katonah , NY 10536 Hol land , Brad 14, 55 , 58 , 76 , 79 , 92 96 Greene Street New York , NY 10012 Howard , John H. 100 336 E. 54th Street New York , NY 10022 Huling , Phil 61 938 Bloomfield Street Hoboken , NJ 07030 Hunt, Scott W. 32 62 Leroy Street, #4E New York , NY 10014 Hynes, Robert 125 5215 Muncaster Mill Road Rockville , MD 20855

lbusuki , James 121 13053 Beaver Street Sylmar , CA 91342

L Leister , Bryan 73 , 100, 136 202 E. Raymond Avenue Alexandria , VA 22301

Milot, Rene 39 221 Balliol Street , Suite 1723 Toronto, Ontario M4S 1C8 Canada

Liepke , Malcolm T. 61 , 98 , 114, 133 30 W. 72nd Street, #2B New York , NY 10023

Moore, Cyd 14 3465 Fernway Drive Montgomery, AL 36111

J Jarvis , Nathan Y. 114 708a Main Street Grandview , MO 64030 Johnson , Joel Peter 64 P.O. Box 803 Ellicott Station Buffalo, NY 14205 Johnson , Steve 35 440 Sheridan Avenue S. Minneapolis , MN 55405 K Kallick , Ingrid S. 87 National Center for Supercomputing Applications 152 Computing Applications Building 605 E. Springfield Avenue Champaign, IL 61820 Kelley , Gary 16, 24 , 89 301 1/2 Main Street Cedar Falls , lA 50613 Kitchell, Joyce 103 2755 Eagle Street San Diego , CA 92103 Kolacz, Jerzy 18 c/o Reactor Art & Design 51 Camden Street Toronto , Ontario M5V 1V2 Canada Kunz, Anita 22, 75 , 107 230 Ontario Street Toronto , Ontario M5A 2V5 Canada Kuper , Peter 67 250 W. 99th Street, #9C New York , NY 10025

Moriarty, Jerry 109 51 W. 28th Street New York, NY 10001

M Maddox, Kelly 121 328 Greenwood Avenue Decatur , GA 30030

N Nelson , Craig 128 11943 Nugent Drive Granada Hills, CA 91344

Manchess , Gregory 136 3217 N. 25th Tacoma , WA 98406

0 Mantel, Richard 32 114 E. 32nd Street, Suite 1103 New York , NY 10016

Odom , Mel 32 , 55 252 W. 76th Street New York, NY 10023 Olbinski, Rafal 11, 57 77-34 113th Street, #6E Forest Hills, NY 11375

Marsh , James 26 21 Elms Road London SW4 9ER England

Oppenheimer, Jennie 29 85 Liberty Ship Way, Suite 112 Sausalito, CA 94965

Mattelson , Marvin 67 37 Cary Road Great Neck, NY 11021

p

Mayer, Bill 46 240 Forkner Drive Decatur , GA 30030

Paraskevas, Michael 46 157 Tuckahoe Lane Southampton , NY 11968

McKowen , Scott 16 c/o Reno Art Works 75 Oriole Gardens , Suite 204 Toronto , Ontario M4V 1V9 Canada

Parker , Curtis 91 1946 East Palomino Drive Tempe , AZ 85284

Mclean, Wilson 29 902 Broadway, Room 1603 New York , NY 10010 McMullen, James 11, 21 222 Park Avenue S., #1 OB New York, NY 10003

Parkes, Michael 64 c/o Steltman Editions Spuistraat 330 1012 VX Amsterdam Netherlands Payne , C.F. 45 , 48 , 62 , 96 758 Springfield Pike Cincinnati , OH 45215

C 0 M M U N I C A T I 0 N

A R T S

207

INDEX TO ILLUSTRATORS

Peck , Everett 48 P.O. Box 99428 San Diego , CA 92109

Schmid , Paul 58 , 70 1040 N.E. 90th Street Seattle , WA 98115

Pilcher , Steve 4, 127 67 Mowat Avenue , Studio 137 Toronto, Ontario M6K 3E3 Canada

Schwartz, Daniel 109 48 E. 13th Street New York , NY 10003

Police , Louis M. 136 1026 E. Howard Street Pasadena , CA 91104

Sedlar, Patrick 45 705 Champlain Avenue Windsor , Ontario N9E 1M6 Canada Seidler, Ned M. 68 #3 Hampton Harbor Lane Hampton Bays , NY 11946

Poole , David L. 136 3934 Hawthorne Avenue Dallas , TX 75219

Seltzer, Isadore 11 285 Riverside Drive New York , NY 10025

R Raile 58 35 Trudelle Street, Apt. 406 Scarborough , Ontario M1J 12S Canada

Sharp , Bruce 16, 68 1300 Lakeview Boulevard East, #1 Seattle , WA 98102

Stermer , Dugald 51 , 104, 110 1844 Union Street San Franc isco , CA 94123 Sterrett, Jane 123 160 Fifth Avenue New York , NY 10010 Stewart, J . W. 21 4538 rue Drolet Montreal , Quebec H2T 2G4 Canada Sumichrast, Jozef 103 465 Beverly Place Lake Forest , IL 60045 Summers , Mark 39 , 73 121 Madison Avenue New York , NY 10016

T Thrun , Thomas 112 400 Western Avenue Morristown , NJ 07960

Reingold , Alan 52 81 W. Main Street Mt. Kisco , NY 10549

Silverman , Burt 95 324 W. 71st Street New York , NY 10023

Rush , John 134 123 Kedzie Street Evanston , IL 60202

Smith , Lane 55 , 73 43 W. 16th Street New York , NY 10011

Ryden , Mark 4, 22 659 S. Lake Avenue Pasadena , CA 91106

Smollin , Mark 116 4836 Via Col ina Los Angeles , CA 90042

Unruh , Jack 79 , 96 2706 Fairmount Dallas , TX 75201

s

Spalenka , Greg 18 165 Perry Street, #1 B New York , NY 10014

v

Torp , Cynth ia 4 21 Theater Square , Su ite 200 Louisville , KY 40202

Visser , Karen 109 1179A King Street West , Su ite 307 Toronto , On tario M6K 3C5 Canada Vuksanovich , Bill 7 3224 N. Nordica Chicago , IL 60634

w Wehrman , Richard 116 Bob Wright Creative Group 247 N. Goodman Street Rochester , NY 14607 Wolfe , Bruce 7 206 El Cerrito Avenue Piedmont , CA 94611 Woodruff, Thomas 52 29 Cornelia Street, #17 New York , NY 10017

z Ziel inski, John 11 , 70 411 4th Ave nue Maywood , IL 60 153 Ziering , Bob 21 151 W. 74th Street New York , NY 10023

u

Salina , Joseph 134 182 Wineva Avenue Toronto , Ontario M4E 2T4 Canada Sandorfi , Istvan 81 c/o Russell Melcher 38 , Allee Saint Andrew Domaine De La Tu ilerie 78590 Noisy Le Roi France

Sprout , Tobin 128 P.O. Box 1025 Sarasota, FL 33578 Stagg , James 62 , 121 272 Bay Vista Circle Sausal ito , CA 94965 Steele , Robert Gantt 91 14 Wilmot Street San Francisco , CA 94115

208

I L L U S T R A T I 0 N

A N N U A L

l 9 9 0

Van Ginkel , Paul 125 40 Edgemont Estates Road N.W. Calgary , Alberta T3A 2M5 Canada Verzaal , Dale C. 104 2445 E. Pebble Beach Drive Tempe , AZ 85282

Zumbo , Matt 84 301 N. Water Street Mil waukee , WI 53202

EDITOR'S NOTE Every effort has been made to ens ure th at cred its acc urately comp ly with information suppl ied to us. If, for any reason, a misspelling , om iss ion or other error has occ ured , notify us with in thirty days and we will be ab le to issue corre cted award certificates .

INDEX TO ART D IRECTORS, D ESIGN FIRMS, A GENCIES AND C LIENTS

A Aero, Rita

29 Altman & Manley 7 Ambler , Jamie 26 American Society For Qual ity Control 84 American Society for Industrial Security 73 Anderson , Gail 73 Ar isman , Marshall 112 Armar io, David 46 , 81 Arnold , David 98 The Atlantic Monthly 41 , 42 , 55 Authors Festival 22

B Bailey , Jim 16 Baker, Richard 64 Barclay, Brian 16 Bartels & Company 16 Bartels, David 16 Bass , Wendy 32 BeiiSouth 98 Biers , Nanette 109 Birchman , Fred 58 Birmingham Arts Festival of 14 Bishop , Debra 73 Barry Blan & Partners 96 Bleiweiss , Richard 52 Bloom in g dales 103 Bodney & Siedler Design 104 Bodney, Brenda 104 Bongers , Charles 18 Bongiorno, Cathryn 82 Booth , Martha Anne 119 Bridgehampton Library Committee 21 Brower, Steven 32 Brown , John 81 Brown, Timothy 64 Buck & Pulleyn Inc. 110 Bull Computers 26 Bushell , Colleen Bannon 87 Butler, David 98 Butler, Perry 104

c CBS Records 11, 22 CBS Records, Portrait Records 18 Calico Books 36 Campbell , Paul 107 Campbeii-Mithun-Esty 24 The Canadian Sugar Institute 4 Capitol Records 14 Carol Publishing Group 32 Carroll, Allen T. 79 Case-Hoyt Corporation 110 Chada, Jim 48 Chaffin , Chris 13 Charley's Restaurant 91 Chief Executive 57 Chin, Pat 103 Christensen, Mike 62 Cipriani Kremer, Inc . 89 Citicorp 96 Cline Davis & Mann Inc .

103 Cole-Haan Shoes 89 Coleman, David 22 Coleman, Mark 18 Coleman Souter 18 Color Copy Printing 121 Comiskey , Roy 73 Conde Nast Traveler 67 Conroy, Rosemary 89 Contac 18 Cooper, Heather 107 Cronin , Denise 35 The Crown Publishing Group 29 Curry, Chris 39 Cuyler, Jolene 79 D Danish, Andrew 91 Danzig , Mark 64 Davis, Paul 13, 16 Paul Davis Studio 13, 16, 21 Daw Books, Inc. 35

Delessert-Marshall 4, 11, 100 DesignFrame Incorporated 98 Designustration 116 The Detroit News 45 DeVino, Frank 52 DiClemente, Joe 22 Di Felice, Annalisa 22 Digital Equipment Corporation 92 Donald, Nancy 22 Drummond, Stacy 18 Duke, Lawrence W. 22 Dunjko , Carmen 134 Durwood, Thomas 36 E.P. Dutton 32 E East, Stella 30 Eide Publishers 30 Engel, Mary Bess 29s Esquire 46 Etheredge, Nancy 32 Atelier Ettinger Inc . 133 Eleanor Ettinger Inc. 114 Expo '92 Sevilla 4 F Fellowes, Julie 87 Fili, Louise 100 Fiore, Patrick 128 Flinchum , Dwayne 46 , 57, 58 , 64 , 81 , 82 First Interstate Bank of Washington 100 Foote , Cone & Belding 9 The Franklin Library 32 Fredrickson, Mark 92 Freeland , Bill 16 Freundlich, Debbie 21 Friedman , Ellen 29, 130 Fulton, Damian 24

G Gard Assuranceforeningen 87 Garlan, Judy 41 , 42, 55 Georges, Rip 46

Gillespie, Maureen 67 Glaser, Milton 7, 11, 16 Milton Glaser, Inc . 7, 11, 16 Godin , Helene 92 Gordon , Larry 4 The Grand Theatre 16 Grapheme CommunicationDesign 92 Groupe Axor Inc . 92 Gulliver 51 Gustafson , Scott 36

H Hakuhodo Inc . 21 Halvorson , George 24 Hanes , Larry 24 Larry Hanes Design 24 Hansen, Bruce 70 Harbourfront Corporation 22 Harlin, Greg 35 Hartman, Sally 18 Hawthorne/Wolfe 39 Head, Gary 107 Heller, Steve 73 Hendler, Sandra 48 Herbert, Peter 48 Linda Herman Company 121 Hesel, Rick 95 Hess , Mark 89 Hess, Rick 22 The Hillier Group 98 Hippocrates 76 Henry Holt & Co . 32 Honeycutt, B.W. 62 Horiike, Kimiko 51 Houser, Kurt 116 Howze , John 39 Hubbard & Hubbard Design 91 Hubbard, Ann 91 Huber, Paul 7

IBM 7 I, Brute Enterprises 48 Ibusuki, James 121

COMMUNICATIO

ARTS 209

INDEX TO ART DIRECTORS, D ESIGN FIRMS , AGENCIES AND CLIENTS

lkarii , Yiuchi

M Macmillan Publish ing Co .

32 Madrid Public Library 11 Mantel , Richard 32 Richard Mantel Studio 32 Marinelli , Jeff 116

21

Illustrator's Forum

116

In Health Magazine

55

J Jackson , Linda

87

Jacoby , Melissa

35

Janetos-Hyett, Andrea Jarvis, Nathan Y.

9

114

Nathan Y. Jarvis & Associates , Inc .

114

Kaplan , Jane

96

62

Rowe , Alan

Omni

11

24

110

Michaelman , Fran

4

Michigan Magazine

21

68

Miller , Donna

Korpics , John

48 , 61

Mississippi Delta Blues

Kramer , Judy

58

Festival

73

67

Lamphron , Diane

61

58 , 70

The Partnership Inc . 98

Schmoll , Karen

14

Pearce , David

School of Visual Arts

87

Pennington , Sara

103

Penthouse 21

Moria , Jenn ifer

103

103

29

109, 112, 116

104

Playboy

32

61 55 , 64 , 70

Pollard , Chuck

Landholt , Alan P. 39

NYNEX

Las Vegas Hilton

National Center for

24

67

109, 116

Seattle Opera

57

24

91

16 58 , 70

Sebastian , James

98

13

Segerstrom , Gail Sheaff Design

PolyGram Canada , Inc. 21

109

The Seattle Times See 's Candies

Playhouse in the Park

N

Press , Ltd .

Schwartz , Dan iel

Ph illips , Martha Piccadilly

Sheaff , Dick

57

89 89

Siedler , Maurya

104

Lebeuf , Robert

21

Supercomputing

Pope , Kerig

55

Simon & Schuster

29

Leonard , Pierre

92

Applications , Un iversity

Prathier , Pat

68

Simon Art Lim ited

107

The Leonhardt Group Levi Strauss

22

9

Liepke , Malcolm T.

114,

133

R 68 ,

79 , 125

11

Federation

100

73

46

13, 16

Review

73

The New Yorker Newtrend

I L L U S T R A T I 0 N

A N N U A L

14

I 9 9 0

100

96

Redbook

The New York Times Book

58

Lowey , David

Festival

26

Razgaitis , Audrey

New York Shakespeare

Livingstone & Co .

Traveling Exhib it Service

R.S.C .G . Italy RBM&M

National Wildlife

Lincoln Center Theatre

210

Smithsonian Institution

87

National Geographic

Levy , Ran i 64

Longevity

of Illinois at UrbanaChampaign

67

61

Regardie 's

11

Smolin , Mark

116

Sovereign Pictu res

Research Corporation Technologies

91

14

Sports Illustrated

11 48

Springfield Newspapers

109, 116

Rife Robertson Inc .

Rife , Guerin

Smolen , Don

Southwestern Bel l 39

48 , 61

Rhodes , Silas 39

18

School of Visual Arts

103

Phipps , Alma

William Morrow & Co ., Inc.

61

52

Perry 's Restaurant Pfizer

Moria Design , Inc .

San Francisco Opera Schmid , Paul

29

14

103

55 , 76

Mitten , Marianne Moore , Cyd

International Airport

100

Mitgang , Esther

Mobil Oil Corporation

LaGuardia , Diana

45

Paine , Howard E. 68 Pantheon

98

104

San Francisco

Palecek , Jane

16

Mitchell, Rick

L LAN Times 62 LU International 7 LaGuardia Community College 16

Saatchi & Saatchi 4

PHP Intersect

45

Alfred A. Knopf , Inc . 35..

95

14, 22

San Diego Zoo

Kirschensteiner , Ray

Inc . 95

Ryden , Mark

Compton Hayhurst Ltd .

Outside

p

29

Kilborn, David Alan

Krukowski & Associates ,

11

s

Ostan .Prentice.Ostan , Inc .

21 Metz, Frank

11

Russek , Jim

46, 57 , 58 , 64 , 81 ,

82

11 , 21

45

Russek Advert ising 18, 24

Olbinski , Rafal 45

45 , 52 , 68 ,

73 , 75 , 79

7

11 ,

128

Rolling Stone

McCabe , Ed

James McMullan Inc.

39

Krukowski, Jan

Novell

Des ign

39

Ogilvy & Mather

58

Kendrick, Dave

Northeast

107

0

McMullan , James

Kamerath, Danny

Norgraphics

11, 100

McKowen , Scott 16 87

13 Ringling School of Art and

92 109

Hal Riney & Partners Inc .

100

Martins , Fred

McDonald , Diane Kallick , Ingrid

100

Marshall , Rita

McCudden , Colleen

K

Noel , Chris

Chris Noel Design Inc .

14

81 Spy

62

Staebler , Tom

55

DISCOUNT PRICES FOR Stagg , James 121 Stanford University Alumni Association 91 Stansbury Ronsaville Wood Inc . 35 Steele, Tommy 14 Stermer, Dugald 51, 104, 110 Stevens, Cecilia 96 Stewart, J.W. 21 Stout, J .D. 70 Studio 100 91 Sumichrast, Jozef 103 Swope Parkway Health 98

T Tabernero , Pedro 4, 11 Tahoe Music Festival 7 Tatham Pearce 87 Taylor Browning Design 107 Taylor , Scott 107 Telarc International Corp .

4 Tennessee Illustrated 64 Texas Monthly 70 Tokyo City Keiba 21 Tomato Music Company , Ltd. 11 Torp , Cynthia 4 Cynthia Torp Studio 4 Trine Kolderup Flaten 30 Triton Energy Corporation 96 Turk , Angela 100

u UJA Federation 95 United States Postal Service 89 United Way 24 Uttech , Mary 84

v Valentine , Robert 103 Varbusiness 46 Verwolf & Company 16 Verwolf , David 16

Viking Penguin 35 Visser , Karen 109

ADDITIONAL COPIES

Vosseler, Ursula

OF

125

w Wade, Lee 32 The Washington Post Magazine 64 The Washington State Department of Ecology 22 Weinberg, Allen 11 Weitek 7 Wells, Rich, Greene, Inc .

7 West Magazine 81 Wildlife Conservation Willis, Len 64 Wolfe, Bruce 7

57

Wollenhaupt, Margaret 98 Wollheim, Betsy 35 Woodward, Fred 45, 52, 68, 73, 75, 79 Worthington, Virginia 87

THE 1990

ILLUSTRATION ANNUAL If you would like copies for others in your firm, or gifts for clients, friends or members of your family that aren't quite sure what you do, here's a price schedule for additional Annuals.

These prices only apply to the 1990 Photography Annual and the 1990 Illustration Annual.

Cover price

$14 each

3 to 5 Annuals

$12 each

6 to 11 Annuals

$11 each

12 to 23 Annuals

$10 each

24 to 99 Annuals

$9 each

100 or more

$8 each

To order fill out the information below and send this page or a facsimile with payment to: EDITOR'S NOTE Every effort has been made to ensure that credits accurately comply with information supplied to us . If, for any reason , a misspelling , omission or other error has occured , notify us within thirty days and we will be able to issue corrected award certificates .

Communication Arts P. 0. Box 10300, Palo Alto, CA 94303 Or you can call (415) 326-6040 and give us your VISA or MasterCard number.

Print Name Company Address City

State

Zip

No Annuals will be sent until payment is received.

0 My check is enclosed 0 Please charge my credit card

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Telephone

Six or more issues will be shipped United Parcel.

C 0 M M U N I C A T I 0 N

A R T S

211

CA BACK ISSUES Some of the back issues are still available. They're all fairly recent because time has always managed to deplete our inventory.

There are several hundred extra copies of some of the issues in this recent period (1977 on), a hundred or less of others, and none of a few. That's why we must reserve the right to refund your money on any that have sold out on a first-come, first-served basis. All orders must be accompanied with payment.

We pay the postage, second-class mail, so allow up to three weeks to get the magazines. Foreign orders will take longer.

Issues not listed are no longer available.

NOV/DEC1977

$21

CA-77 Advertising & Design Annual

JUL/AUG 1978

$14

The Art Annual1978 Illustration & Photography

NOV/DEC 1978

$21

CA-78 Advertising & Design Annual

NOV/DEC 1979

$21

CA-79 Advertising & Design Annual

NOV/DEC 1980

$21

CA-80 Advertising & Design Annual

JUL/AUG 1981

$14

$14

The Art Annual1982 Illustration & Photography

NOV/DEC 1982

A Day in the Life of... ; Carlos Llerena Aguirre; Samata Associates, Inc.; Dave Davidson; Marvin Mattelson; The Martin Agency; Candid Photographs of Arthur Fiedler

MAY/JUN 1985

Annals of Design (3); Chuck O'Rear; Apple Computer; Robert Heindel's Ballet

JUL1985

AUG1985

NOV1985 $21

JUL/AUG 1983

$14

$21

CA-83 Design Annual $21

CA-83 Advertising Annual

$14

Photography Annual

NOV1984 CA-84 Design Annual

DEC1984

$21

CA-84 Advertising Annual

JAN/FEB1985

Michael Peters; Seymour Chwast/ Left-Handed Designer; Howard Rainer; Leonard Monahan Saabye; Hinsche + Associates; Lloyd Ziff; Poltroon Press Postcards; AlGA Conference; Index to Volume 27 $7

$7

Koppel & Scher; Skip Liepke; WPA Posters; Rusty Kay; Jean Moss; The College Marketing Game $14

Illustration Annual $7

Deborah Sussman; Arthur Meyerson; Wilson McLean; Weymouth Design; Art Posters; Index to Volume 26

AUG1986 Photography Annual

$21

CA-86 Advertising Annual $7

Heinz Centennial Annual Report; Richard Hamilton Smith; Dyer/Kahn; Wieden & Kennedy; Charleen Kinser Designs; Twenty-seven Chicago Designers; Magazine on Wheels; "Hold the Red Ink, Merger on the Right"; Index to Volume 28

MAR/APR 1987

$7

Museum Design Competition; Levine, Huntley, Schmidt and Beaver; Jeffrey J. Smith; Barbara Bordnick; Sibley/Peteet; Car Emblems

MAY/JUN 1987

$7

John Van Dyke; GSD&M; Kathryn Kleinman; Alan Cober Sends His Best; Esprit Bed & Bath; Color Predictions; Michael Mabry; San Francisco Design Discussion; Ardeshir Mohasses $14

Illustration Annual $14

Photography Annual

SEP/OCT 1987

$7

CSU Poster Competition; United Way Campaign; Carbone Smolan Associates; William Cone; Willie Moy; Armando Testa; Aspen; Creative Greeting Cards; Roger Black on Staying Alive; Ed McCabe and Backwater Advertising

NOV1987

DEC1987

$21

$14

$14

Illustration Annual

AUG1988

$M

Photography Annual

SEP/OCT1988

$7

Tony Schwartz; Julie Lieberman; Fran9ois Robert; NFL Properties; Neville Brody; Exhibit; Creative Greeting Cards; Herbert Bayer $21

CA-88 Design Annual

DEC1988

$21

CA-88 Advertising Annual

JAN/FEB 1989

$7

Edelstein Associates; Myron; Joy Radio; Muller + Company; Polaroid Poster Collection; Matthew Carter; John Hersey; The Partners; Exhibit

MAR/APR 1989

$7

Torn Hughes; Jim Arndt; Melissa Grimes; Goodby, Berlin & Silverstein; Exhibit; Design in Chicago; Jeff Barnes; Kym Abrams; Rick Valicenti; Robert Petrick; Steven Liska; Japanese Design Adventure

MAY/JUN 1989

$7

Ammirati & Puris; Computers in the Studio; Scott Morgan; Richardson or Richardson; Exhibit; Yesterday inCA

JUL1989

$14

Illustration Annual

AUG 1989

$14

Photography Annual

SEP/OCT 1989

$7

Lewis Moberly; William Coupon; Drenttel Doyle Partners; Anthony Russo; McKinney & Silver; Michael Cronan; Hans Rudi Erdt; Exhibit

NOV1989

$21

CA-89 Design Annual $21

MAR/ APR 1988

DEC1989

$21

CA-89 Advertising Annual $7

Smart Yellow Pages; William Neill; Art Chantry; "Design Jobs: Fact and Fiction;" Kunio Hagio; Heller Breene; Gene Hoffman; AlGA Conference II; Index to Volume 29 $7

JAN/FEB 1990

$7

International Posters; Deutsch; Joyce Kitchell; Tim Bieber; Skolos, Wedell+ Raynor; AlGA Conference III; Earthquake; Exhibit; Index to Volume31

MAR/APR 1990

$7

Michael Brock; Rob Day; Great Moments in Design Tools; The Ball WCRS Partnership; GeofKern; Madsen and Kuester; Chiat/Day: The Book; Exhibit; Farewell to the Opulent Eighties

Robert Appleton; Vint Lawrence; Museum of Flight, Seattle; Martin/ Williams; Simpson's "An American Reader;" Yuri Dojc; Jack Roberts; Exhibit; Marget Larsen

MAY/JUN 1988

JUL 1988

NOV 1988

JAN/FEB 1987

CA-87 Advertising Annual

Steinhilber & Deutsch; Per Arnoldi's Posters; The Californias; Sue Crolick; Casa Lupita Menu; Burson-Marsteller Design Group, Ed Soyka; ASMP

JUL1986

CA-86 Design Annual

DEC1986

JAN/FEB 1988

MAY/JUNE 1986 $21

$21

CA-87 Design Annual $7

MAR/APR 1986 $14

Illustration Annual

AUG1984

$21

JAN/FEB 1986

The Art Annual1983 Illustration & Photography

JUL1984

$21

CA-85 Design Annual

CA-85 Advertising Annual

NOV1986

AUG1987 $7

$7

Statue of Liberty Exhibit; Douglas Smith; Colossal Pictures; Louise Fili; James Sebastian; Frankenberry, Laughlin & Constable; The American Advertising Museum; Next

JUL1987 $14

Barry Moser; Chronicle Books; Stan Mack; Paul Davis/Faces; Voyages of the Royal Vikings; John Waters Associates; Lester Beall: A Look Back; ADAC/Sacrarnento

DEC 1985

DEC1983

$14

Illustration Annual

CA-82 Advertising & Design Annual

NOV1983

$7

SEP/OCT 1985 $21

CA-81 Advertising & Design Annual

JUL/AUG 1982

$7

Photography Annual

The Art Annual1981 Illustration & Photography

NOV/DEC 1981

MAR/APR 1985

SEP/OCT 1986

$7

Taylor & Browning; Thomas Blackshear; Livingston & Company; Omni Magazine; Sex in Advertising; Michael Going; Exhibit; Heather Cooper's Carnaval Perpetuel; Nine Ways to Improve an Ad

MAY/JUNE 1990

$7

Tim Girvin; Pagano, Schenck & Kay; Aaron Jones; Wine Labels Get Bolder; Terrelonge Design; " Design-Speak Vs. Communicating for Success;" Richard Mantel; TED 2; Degraf/Wahrman; Exhibit